Photographic inscriptions: the traces of history on the walls
Working on the relationship between images and history, Didi-Huberman asks about those surfaces that have been witnesses and survivors of atrocities, considering them as the crusts of history. Taking up the idea of the image as surface and crust, as something that has been and is the visible layer o...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Letras
2023
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43602 |
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I10-R333-article-43602 |
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I10-R333-article-436022023-12-19T19:46:18Z Photographic inscriptions: the traces of history on the walls Inscripciones fotográficas: las marcas de la historia en las paredes Fortuny, Natalia Argentine Photography; Memories; Post-Dictatorship; Surfaces Fotografia Argentina; Memorias; Posdictadura; Superficies Working on the relationship between images and history, Didi-Huberman asks about those surfaces that have been witnesses and survivors of atrocities, considering them as the crusts of history. Taking up the idea of the image as surface and crust, as something that has been and is the visible layer of something lived, this article analyses two photographic series that use their own photographic surfaces - and the tensions at play on those surfaces - to think about recent history. These are the book Bruma (2017) by Santiago Porter and the serie Naturalezas by María Eugenia Cerutti. Just as the remnants of history on the walls allow us to explore the past to know it, the unfolding of their materiality expresses the memories of a witnessed history. Al trabajar la relación entre imágenes e historia, Didi-Huberman se pregunta por aquellas superficies que fueron testigos y sobrevivientes de atrocidades y las considera cortezas de la historia. Retomando la idea de la imagen como superficie y corteza, como algo que ha estado y que es la capa visible de algo vivido, este artículo analizar dos series fotográficas que despliegan sus propias superficies fotográficas –y las tensiones que se ponen en juego en esas superficies– para pensar la historia reciente. Se trata del libro Bruma (2017) de Santiago Porter y la serie Naturalezas de María Eugenia Cerutti. Así como los restos de la historia en las paredes permiten indagar en el pasado para conocerlo, el despliegue de su materialidad expresa las memorias de una historia atestiguada. Facultad de Filosofía y Humanidades. Escuela de Letras 2023-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Inscriptions of the catastrophe Inscripciones de la catástrofe application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43602 Heterotopías; Vol. 6 No. 12 (2023): Discourses, representations, and appropriations of the contemporary city. A look at urban habitation; 1-15 Heterotopías; Vol. 6 Núm. 12 (2023): "Discursos, representaciones, y apropiaciones de la ciudad contemporánea. Una mirada al habitar urbano"; 1-15 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43602/43637 Derechos de autor 2023 Heterotopías https://creativecommons.org/licenses/by-nc-sa/4.0 |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-333 |
| container_title_str |
Heterotopías |
| language |
Español |
| format |
Artículo revista |
| topic |
Argentine Photography; Memories; Post-Dictatorship; Surfaces Fotografia Argentina; Memorias; Posdictadura; Superficies |
| spellingShingle |
Argentine Photography; Memories; Post-Dictatorship; Surfaces Fotografia Argentina; Memorias; Posdictadura; Superficies Fortuny, Natalia Photographic inscriptions: the traces of history on the walls |
| topic_facet |
Argentine Photography; Memories; Post-Dictatorship; Surfaces Fotografia Argentina; Memorias; Posdictadura; Superficies |
| author |
Fortuny, Natalia |
| author_facet |
Fortuny, Natalia |
| author_sort |
Fortuny, Natalia |
| title |
Photographic inscriptions: the traces of history on the walls |
| title_short |
Photographic inscriptions: the traces of history on the walls |
| title_full |
Photographic inscriptions: the traces of history on the walls |
| title_fullStr |
Photographic inscriptions: the traces of history on the walls |
| title_full_unstemmed |
Photographic inscriptions: the traces of history on the walls |
| title_sort |
photographic inscriptions: the traces of history on the walls |
| description |
Working on the relationship between images and history, Didi-Huberman asks about those surfaces that have been witnesses and survivors of atrocities, considering them as the crusts of history. Taking up the idea of the image as surface and crust, as something that has been and is the visible layer of something lived, this article analyses two photographic series that use their own photographic surfaces - and the tensions at play on those surfaces - to think about recent history. These are the book Bruma (2017) by Santiago Porter and the serie Naturalezas by María Eugenia Cerutti. Just as the remnants of history on the walls allow us to explore the past to know it, the unfolding of their materiality expresses the memories of a witnessed history. |
| publisher |
Facultad de Filosofía y Humanidades. Escuela de Letras |
| publishDate |
2023 |
| url |
https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43602 |
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AT fortunynatalia photographicinscriptionsthetracesofhistoryonthewalls AT fortunynatalia inscripcionesfotograficaslasmarcasdelahistoriaenlasparedes |
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2024-09-03T21:10:15Z |
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2024-09-03T21:10:15Z |
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1809210740070940672 |