El objetivo intencional (La mirada corta de la cámara sobre la obra de Javier Carvajal)
The search for diverse meaning within the scope of space, the void placed between an individual and physical objects, has been the foundation of contemplation in art, at a time when the main focus wasn’t perspective but rather an approach to the inanimate, centring on corporal existence and the proj...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | español |
| OAI Identifier: | oai:dadun.unav.edu:10171/42254 |
| Acceso en línea: | https://hdl.handle.net/10171/42254 |
| Access Level: | acceso abierto |
| Palabra clave: | Mueble Efímero Visión Objeto Fotografía Furnishing Fleeting Material Vision Object Carvajal Materias Investigacion::Arquitectura |
| Sumario: | The search for diverse meaning within the scope of space, the void placed between an individual and physical objects, has been the foundation of contemplation in art, at a time when the main focus wasn’t perspective but rather an approach to the inanimate, centring on corporal existence and the projection of the object itself. In the XIX century photography becomes a powerful essay in this sense. It adds to its documental character the potential of capturing processes in action, and experimental focus in everyday occurrences. Moholy-Nagy described it as the image of imagination because it completes the pure visual sense of the machine with the artist’s intellectual experience. That deliberate look at architecture has a deep value that transcends a simple descriptive approach. When the object of photography is an ephemeral architecture, it also becomes a vital instrument in which its tie to the existential offers a possibility of future knowledge. This same quality is extended to the interchangeable space around the furnishing. From different types of photography taken during the period, be it amateur, professional, documental or subjective, we set the objective of examining the ambit around the physical object in the work of Javier Carvajal; architect who checked his task down to detail around the very object since the beginning. His projects are expressed and heightened by the experience of the senses, and the images restore the very essence of works which are extinct today. The different approaches in photography are offered as another element of study of the architect and his work. Whoever observes the images takes part in a sequence that the visual artist began as a process of interpreting the meaning of being among physical objects. |
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