Fotografia e cubos : o fotográfico e o minimalismo
Sandro Alves Silveira
DATA DE PUBLICAÇÃO
Most of the theories related to the photographic image have treated photography as an object of conventional research. The search for the specificity of the media was the tonic of the most important debates. In 1990, releasing a compilation entitled The photographic, the theoretic and historian of the art Rosalind Krauss observes that authors like Walter Benjamin and Roland Barthes did not produce a theory about the photography, but from photography. This is how she proposes to use photography as a theoretic object, a filter from which it is possible to organize the data from another field. Due to the semiotic nature of indicial sign which places it with emphasis in the field of the lacanian imaginary -, photography avoids the condition of object of study, incurring reflexively over the theoretic and historic treatments that are directed to it. Krauss makes use of this condition of photography articulating approximations between the operative mode of the art of Marcel Duchamp, the index and the photography, to, afterwards, demonstrate how the art of the 70s, in all its heterogeneity, encounters, precisely in the indicial and in the photographic, a unifier principle. From there, Krauss performs studies where photography works a theoretic object. From his studies, and from the subsequent ones of Phillipe Dubois, the incidences of the operative modes of photography are found in the most diverse tendencies of the modern and contemporary art. A heterogeneous group of American artists in the beginning of the seventies, usually referred to as the minimalists, produced objects that should be specific, refer to themselves, with no connotation. Georges Didi-Huberman, in What we see stares at us, argues that the minimalist objects, specially some parallelepipeds and black cubes, ended up becoming new objects of cult. With a more detained look in a work by Tony Smith, entitled Die (1962) a black box with the dimensions of 6 x 6 x 6 feet, exactly the size of the vitruvian men of Leonardo Da Vinci -, this author inquires into the nature of a shape with presence of this work. In its dissimilarity with the human shape, in its try to draw back from anthropomorphism, Die ends up acting as a double, an index of the human absence engendered by the contiguity of its dimensions, with the human stature, and also by its convexity, its condition of continent. The indicial signification representation by contiguity is present not only in this case, but also in the seriality of great part of the minimalist production. Hal Foster, by his turn, considers the minimalism, beside the pop art, as a crucial moment of the art, where modernism reaches its apex and, at the same time, becomes exhausted, is overcome; that is: minimalism can be seen as a decisive instant of the arts from modernity and from late modernity. Photography, with axial aspects in the signification by contiguity, assumes, in the present work, this abovementioned condition of theoretic object, for a look over the incidences of the operative modes of the photographic over these new objects of cult, created by the minimalists.
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