El edificio Schaulager para la Fundacion Emanuel Hoffman. (arquitectura post-fotográfica)
- Autores: Enric Llorach Herrero
- Directores de la Tesis: Eduard Bru Bistuer (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2007
- Idioma: español
- Tribunal Calificador de la Tesis: Juan José Lahuerta Alsina (presid.), Jaime Coll López (secret.), Josep Benlloch Serrano (voc.), Fernando Quesada López (voc.), María Jesús Muñoz Pardo (voc.)
- Materias:
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- Resumen
Post-Structuralism questioned authorship and authenticity for the work of art. In the sixties, photography -the scripture of light- became its vehicle. Photography's identity is already ambiguous, it is somewhere between the media and the museum. Photography questions its own artistic ontology, dissolves authorship through the technical process, and rejects originality. Photographic image are always a copy, there is not an original picture.
In 1977, a year before the foundation of the architect's office Herzog & de Meuron, Douglas Crimp commissioned the exhibition Pictures in New York. Pictures constituted a convergence of plastic arts and photography. The artists involved questioned authorship and authenticity mostly through photographic images. Post-Structuralism had eliminated authenticity from experience. Simulacrum preceded reality, which turned into Hiper-Reality in its absence of models. Experience was made of representations, which reached its higher point in Spectacle. More recently, digital images have confirmed what was pointed out in Pictures. Digital images do not have photographic referent, they are constructed through an accumulation of copies. However, photography had always been a manipulation: this would always happen when transferring from 3D to a pictorial surface. But digital images are today accompanied by new scientific areas which have weakened traditional limits between binary pair concepts. Nature and culture, reality and representation, true and false, original and copy or human and not human are some of the oppositions which seem progressively useless in order to describe reality. The critic and historian of photography Geoffrey Batchen named this context as Post-Photography, where photographic image has eroded the veracity status of photography. Today, any efforts made to distinguish true from false in an image have became a picturesque anachronism.
Through some essays and articles, the critic and historian of art Rosalind E. Krauss of
