Sturm der Bilder: Registros Videográficos de las Actitudes Iconoclastas
[EN] Sturm der Bilder's proposal is a journey through the destructive gesture of the human being towards images and, consequently, on their identity contexts. Traditionally, iconoclastic phenomena are reduced to certain crises of the image that do not encompass the complexities of this atti...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/183273 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/183273 |
| Access Level: | acceso abierto |
| Palabra clave: | Iconoclasia Historia del arte Imagen Vídeo-ensayo Iconoclasm Art history Image Film-Essay |
| Sumario: | [EN] Sturm der Bilder's proposal is a journey through the destructive gesture of the human being towards images and, consequently, on their identity contexts. Traditionally, iconoclastic phenomena are reduced to certain crises of the image that do not encompass the complexities of this attitude towards the ideological. This is how hegemonic visual policies are dissolved in the face of the ruin of their representation, showing the violence of institutional narratives. For this, this video documents those records that are transferred from the cultural heritage to the human bodies themselves. On the other hand, the video itself is directly related to the debate on patrimonial inheritance, dominated through iconoclastic strategies that influence symbolic murder. However, these same acts have managed to open up the analysis of conservation and cultural management on each occasion. This fact, in turn, indicates how new media, such as video and photography, can be technologies of the record for documentation and preservation in the absence of a reference, as happened with Jean Cocteau's photobook “Death and Statues” (1946). Therefore, the video would preserve the images as fragments, fleeting and hurtful as memories, in order to protect the memory from the copy and the reproducibility. For all these reasons, the short film seeks phenomenological traces through the gestures reflected in the management of violence towards images in history. A journey of critical thought in the hands of a vehemence that fails to hide the possibility of truth behind the act of what is known as "the destruction of art." |
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