Sachgebiete

Beschreibung:

78 S.; zahlr. Abb.; 8°; kart.

Bemerkung:

Sehr gutes Ex. - Texte italienisch / englisch. - A cura di Curateci by Giuseppe Cannilla Paolo Musu Stella Santacaterina // Prefazione Preface Irene Bignardi // Introduzione Introduction Jon Thompson. - Sommario Contents -- Prefazione/Preface, Irene Bignardi -- L'immagine spettrale, Jon Thompson The Spectral Image -- L'immagine e il fantasma, Giuseppe Cannilla The Image and the Phantasm -- II fantastico fra cinema e fotografia, Paolo Musu The Fantastic in Cinema and Photography -- Filologia dell'immagine, Stella Santacaterina The Philology of the Image -- Un pizzico di trasparenza, Bill Hopkins A Touch of Transparence -- Note biografiche/Biographical Notes. // "The very definition of the Real has become: that of which it is possible to give an equivalent reproduction... The real is not only what can be reproduced, but that which is always already reproduced... the hyperreal, which is entirely in simulation". This definition by Jean Baudrillard belongs to a line of thinking which involves contemporary artistic and aesthetic ideas, but more to the originating conditions of art, photographic art in particular. The main characteristic of reproduction is that of simulation and deceit; they have always belonged to photographic language, which is in fact illusory and real at the sanie time. Let us consider the experiments of the 19th century and if we choose to remain within the British context, the photographic work of artists such as Robinson, Cameron, Carroll and Re-jlander. It is not without reason that the arbitrary nature of the etymological play of the "word-luggage" Kodak brings to mind the psychoanalytic association of the concept of "mimesis" as enigma which devours the real. This research of contemporary authors in the current exhibition brings to attention certain aspects of a poetics which is particularly expressive of today and are connected not only with the history of photography but with the visual arts in general. At the same time this demonstrates how the photographic medium can constitute within a certain line of aesthetic research an ideal place for the development of some narrative themes presenting them in a new light, connected with the nature of the medium and the method of construction of the image. The evolution of modern and contemporary art presents a corrective amendment regarding the function and poetics of the image which always plays with the various implications of the terms of the examples between reality and visible; between likeness and appearances. The post-idealist crisis has completely denied the relationship between the visible and the real in modern painting (from Klee to Duchamp and Man Ray) without pretending to offer a surrogate, after. Pop Art has spendidly demonstrated, that they are the only ones left - and the visible, that part of reality which remains visible (because not everything that is real is visible, and not everything that is visible constitutes reality) but renders possible the denomination. "Surrealism" has remained in certain ways loyal to the real, which it still contests because it maintains a conflicting relationship between the real and the imaginary with the truth of the unconscious. Today the issue at stake is no longer to render visible that which is invisible, given that modern art has already exhausted the ironic dream suspended in the interregnum of the preconscious limbo in the world of the pre-natal and non-living, neither to demonstrate that dream and phantasy are real but visible. This visible which we have barely time to witness, the instant which glances by us, and is gone forever. (S. 26) ISBN 8870170721