Fotomontaje como agente revolucionario
Barra lateral del artículo
Publicado:
jul 19, 2018
Contenido principal del artículo
Núm. 17 (2018), b) Creación y Revolución: usos variables, Páginas 179-207
Resumen
En este artículo, la práctica del fotomontaje se presenta como un agente revolucionario capaz de reconfigurar eventos reales y crear nuevas narrativas basadas en intereses políticos. Para ello, se presentan dos enfoques diferentes sobre el papel del fotomontaje, ambos llevados a cabo en un contexto en el que el escenario político estaba experimentando una profunda reestructuración.
En el primer caso, descrito a través de un análisis de un conjunto de obras de John Heartfield, el fotomontaje se caracteriza por un discurso de oposición a un régimen político fascista en ascenso en Alemania, revelando esta práctica como un medio potencial para proponer una relectura de eventos reales y apelar al sentido crítico del público. En este contexto, podemos decir que el fotomontaje actúa como un arma (anti) política.
En el segundo caso, descrito a través del análisis de un conjunto de obras de autores como Klutsis o El Lissitzky, el fotomontaje se caracteriza por un discurso de acuerdo con una nueva era política que tuvo lugar en la Unión Soviética tras la Revolución de Octubre.
Palabras clave:
Fotomontaje, fotomontaje político, propaganda, Heartfield, El Lissitzky, Klutsis
Detalles del artículo
Referencias
Ades, D. (2002). Fotomontage. Barcelona: Editorial Gustavo Gili.
Aragon, L. (1935/2012). John Heartfield and Revolutionary Beauty. In Adrian Sudhalter & Deborah Roldan, Photomontage Between the Wars (1918-1939) (pp. 119-121). Carleton University Art Gallery / Fundacion Juan March.
Barthes, R. (1993). Camera Lucida: Reflections on Photography. London: Vintage Classics.
Berger, J. (1972a). The Political Uses of Photo-Montage. In Selected Essays and Articles: The Look of Things. pp. 183-189. England: Penguin Books.
Berger, J. (1972b). Understanding a Photograph. In Selected Essays and Articles: The Look of Things. pp. 178-182. England: Penguin Books.
Bostancı, M. (n.d.). “Whoever Reads Bourgeois Newspapers Becomes Blind and Deaf”: The Political Photomontage of John Heartfield. Retrieved 3 janeiro 2018, from https://www.johnheartfield.com/John-Heartfield-Exhibition/about-john-heartfield-photomontages/heartfield-photomontage-dada-political/turkish-political-art-dada-fascist/political-photomontage-bostanci
Drutt, M. (1999). El Lissitzky na Alemanha, 1922-1925. In M. Tupitsun, El Lissitzky. Para além da abstracção. Fotografia, design, cooperação (pp. 9-24). Porto: Fundação de Serralves.
Fabris, A. (2003). A fotomontagem como função política. História, São Paulo, 22(1), pp-11-57.
Fabris, A. (2005). Entre arte e propaganda: fotografia e fotomontagem na vanguarda soviética. Annals of Museu Paulista, 13(1), pp-99-132.
http://dx.doi.org/10.1590/S0101-47142005000100004
Foster, H., Krauss, R., Bois, Y., Buchloh, Be. H. D. & Joselit, D. (2011). Art Since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson.
Frizot, M. (1991). Photomontage: Experimental Photography Between the Wars. London: Thames and Hudson.
Hausmann, R., Huelsenbeck, R. & Golyscheff, J. (1919/2002). What is Dadaism and what does it want in Germany. In Timothy O. Benson & Éva Forgács (ed.), Between worlds: a sourcebook of central european avant-gardes, 1910-1930 (p. 318). The MIT Press.
Hine, L. (1909/1980). Social Photography. In Alan Trachtenberg (ed.), Classic Essays on Photography (pp. 109-114). Leete's Island Books.
Hollins, R. (2002). Graphic Design: A Concise History. Thames & Hudson.
King, D. & Volland, E. (2015). John Heartfield Laughter Is a Devastating Weapon. London: Tate Publishing.
Klutsis, G. (1931/2012). Photomontage as a new kind of agitation art. In Adrian Sudhalter & Deborah Roldan, Photomontage Between the Wars (1918-1939) (pp. 116-118). Carleton University Art Gallery / Fundacion Juan March.
Kracauer, S. (1997). Photography. Theory of film: the redemption of physical reality (pp. 3-23). New Jersey: Princeton University Press.
Kracauer, S. & Levin, T. Y. (1927/1993). Photography. Critical Inquiry, 19(3), pp. 421-436. http://www.jstor.org/stable/1343959
Kriebel, S. (2009). Manufacturing Discontent: John Heartfield's Mass Medium. New German Critique 107, 36(2), pp.53-88. http://dx.doi.org/10.1215/0094033X-2009-002
Meggs, P. B. & Purvis, A. W. (2016). History of Graphic Design. New Jersey: Wiley.
Neundörfer, L. (1929/2002). Photography — The pictorial art of the present day. In Timothy O. Benson & Éva Forgács (ed.), Between worlds: a sourcebook of central european avant-gardes, 1910-1930 (p. 700). The MIT
Pisch, A. (2016). The personality cult of Stalin in Soviet posters, 1929 - 1953: archetypes, inventions and fabrications. Australia: ANU Press.
Pohlmann, U. (1999). A arquitetura de exposições de El Lissitzky na Alemanha e a sua influência sobre as mostras de propaganda fascista 1932-37. In M. Tupitsun, El Lissitzky. Para além da abstracção. Fotografia, design, cooperação (pp. 52-64). Porto: Fundação de Serralves.
Sudhalter, A. (2012). The self-reflectivity of photomontage: writing on and exhibiting the medium, 1920–1931. In Adrian Sudhalter & Deborah Roldan, Photomontage Between the Wars (1918-1939) (pp. 8-22). Carleton University Art Gallery / Fundacion Juan March.
Sontag, S. (1979). On Photography. London: Penguin.
Stoltzfus, E. (Feb 5, 2017). “Class Consciousness to the Fray!”: El Lissitzky’s Soviet Pavillion at ‘Pressa’. Retrieved from https://culturised.co.uk/2017/02/class-consciousness-to-the-fray-el-lissitzkys-installations-at-pressa/#_ftnref3
Trachtenberg, A. (ed.) (1980). Social Photography. New Haven, Conn: Leete's Island Books.
Tupitsyn, M. (1999). De volta a Moscovo. In M. Tupitsun, El Lissitzky. Para além da abstracção. Fotografia, design, cooperação (pp. 25-51). Porto: Fundação de Serralves.
Aragon, L. (1935/2012). John Heartfield and Revolutionary Beauty. In Adrian Sudhalter & Deborah Roldan, Photomontage Between the Wars (1918-1939) (pp. 119-121). Carleton University Art Gallery / Fundacion Juan March.
Barthes, R. (1993). Camera Lucida: Reflections on Photography. London: Vintage Classics.
Berger, J. (1972a). The Political Uses of Photo-Montage. In Selected Essays and Articles: The Look of Things. pp. 183-189. England: Penguin Books.
Berger, J. (1972b). Understanding a Photograph. In Selected Essays and Articles: The Look of Things. pp. 178-182. England: Penguin Books.
Bostancı, M. (n.d.). “Whoever Reads Bourgeois Newspapers Becomes Blind and Deaf”: The Political Photomontage of John Heartfield. Retrieved 3 janeiro 2018, from https://www.johnheartfield.com/John-Heartfield-Exhibition/about-john-heartfield-photomontages/heartfield-photomontage-dada-political/turkish-political-art-dada-fascist/political-photomontage-bostanci
Drutt, M. (1999). El Lissitzky na Alemanha, 1922-1925. In M. Tupitsun, El Lissitzky. Para além da abstracção. Fotografia, design, cooperação (pp. 9-24). Porto: Fundação de Serralves.
Fabris, A. (2003). A fotomontagem como função política. História, São Paulo, 22(1), pp-11-57.
Fabris, A. (2005). Entre arte e propaganda: fotografia e fotomontagem na vanguarda soviética. Annals of Museu Paulista, 13(1), pp-99-132.
http://dx.doi.org/10.1590/S0101-47142005000100004
Foster, H., Krauss, R., Bois, Y., Buchloh, Be. H. D. & Joselit, D. (2011). Art Since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson.
Frizot, M. (1991). Photomontage: Experimental Photography Between the Wars. London: Thames and Hudson.
Hausmann, R., Huelsenbeck, R. & Golyscheff, J. (1919/2002). What is Dadaism and what does it want in Germany. In Timothy O. Benson & Éva Forgács (ed.), Between worlds: a sourcebook of central european avant-gardes, 1910-1930 (p. 318). The MIT Press.
Hine, L. (1909/1980). Social Photography. In Alan Trachtenberg (ed.), Classic Essays on Photography (pp. 109-114). Leete's Island Books.
Hollins, R. (2002). Graphic Design: A Concise History. Thames & Hudson.
King, D. & Volland, E. (2015). John Heartfield Laughter Is a Devastating Weapon. London: Tate Publishing.
Klutsis, G. (1931/2012). Photomontage as a new kind of agitation art. In Adrian Sudhalter & Deborah Roldan, Photomontage Between the Wars (1918-1939) (pp. 116-118). Carleton University Art Gallery / Fundacion Juan March.
Kracauer, S. (1997). Photography. Theory of film: the redemption of physical reality (pp. 3-23). New Jersey: Princeton University Press.
Kracauer, S. & Levin, T. Y. (1927/1993). Photography. Critical Inquiry, 19(3), pp. 421-436. http://www.jstor.org/stable/1343959
Kriebel, S. (2009). Manufacturing Discontent: John Heartfield's Mass Medium. New German Critique 107, 36(2), pp.53-88. http://dx.doi.org/10.1215/0094033X-2009-002
Meggs, P. B. & Purvis, A. W. (2016). History of Graphic Design. New Jersey: Wiley.
Neundörfer, L. (1929/2002). Photography — The pictorial art of the present day. In Timothy O. Benson & Éva Forgács (ed.), Between worlds: a sourcebook of central european avant-gardes, 1910-1930 (p. 700). The MIT
Pisch, A. (2016). The personality cult of Stalin in Soviet posters, 1929 - 1953: archetypes, inventions and fabrications. Australia: ANU Press.
Pohlmann, U. (1999). A arquitetura de exposições de El Lissitzky na Alemanha e a sua influência sobre as mostras de propaganda fascista 1932-37. In M. Tupitsun, El Lissitzky. Para além da abstracção. Fotografia, design, cooperação (pp. 52-64). Porto: Fundação de Serralves.
Sudhalter, A. (2012). The self-reflectivity of photomontage: writing on and exhibiting the medium, 1920–1931. In Adrian Sudhalter & Deborah Roldan, Photomontage Between the Wars (1918-1939) (pp. 8-22). Carleton University Art Gallery / Fundacion Juan March.
Sontag, S. (1979). On Photography. London: Penguin.
Stoltzfus, E. (Feb 5, 2017). “Class Consciousness to the Fray!”: El Lissitzky’s Soviet Pavillion at ‘Pressa’. Retrieved from https://culturised.co.uk/2017/02/class-consciousness-to-the-fray-el-lissitzkys-installations-at-pressa/#_ftnref3
Trachtenberg, A. (ed.) (1980). Social Photography. New Haven, Conn: Leete's Island Books.
Tupitsyn, M. (1999). De volta a Moscovo. In M. Tupitsun, El Lissitzky. Para além da abstracção. Fotografia, design, cooperação (pp. 25-51). Porto: Fundação de Serralves.