Fragments of time and space: a comparative study between the works of Gordon Matta-Clark and Michael Wesely
In this article, we analyze the works of Gordon Matta-Clark and Michael Wesely from a fragmented visuality which began with the relationship between the subject and the camera obscura. Based on the discontinuous and unstable vision of the observer, conceptualized and reported by Jonathan Crary, we i...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade do Estado de Santa Catarina (UDESC) |
| Repositorio: | DAPesquisa |
| Idioma: | portugués |
| OAI Identifier: | oai::article/18242 |
| Acceso en línea: | https://periodicos.udesc.br/index.php/dapesquisa/article/view/18242 |
| Access Level: | acceso abierto |
| Palabra clave: | Fotografia - Processamento Percepção de imagens-Fotomontagem Matta-Clark, Gordon, 1943-1978 Wesely, Michael Photography - Processings Picture perception - Photomontages |
| Sumario: | In this article, we analyze the works of Gordon Matta-Clark and Michael Wesely from a fragmented visuality which began with the relationship between the subject and the camera obscura. Based on the discontinuous and unstable vision of the observer, conceptualized and reported by Jonathan Crary, we investigate how both artists use photography as a way of disaggregating the limits which are set between past and present, so that space and time become undetermined. Thus, we appropriate the writings of Walter Benjamin, Maurice Blanchot and Jacques Derrida on ruins to study the way photographic image asserts itself as lacerated configurations, by opening itself, through superimpositions, ramifications and excesses, as obliterated and incomplete representations. |
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