The invention of landscape in the photograph by Claudia Jaguaribe
DOI:
https://doi.org/10.24310/Fotocinema.2018.v0i16.4091Keywords:
Paisagem, Arte contemporânea, Crise da representação, História da Arte, História da Fotografia, paisaje, arte contemporáneo, crisis de la representación, História del Arte, História de la FotografíaAbstract
This article discusses the construction of the landscape in the photographic series Entre Morros (2010) and Over São Paulo (2011) by Brazilian visual artist Claudia Jaguaribe. The formal and visual analysis of these works intends to highlight the discussions proposed by Jaguaribe on the change in the natural and constructed landscapes and the procedures by means of which the artist makes the image enunciate otherwise the real and problematize the landscape as representation in either the story of the painting and of photography. Such analysis will be held in the context of two relevant discussions in the fields of communication and of art today: the regime of images in which mimesis is no longer a major enunciative regulator and the landscape as a problem of representation of space in contemporary photography. Based on contemporaries theories of landscape in art history, history of photography and in cultural geography, the text will seek to link the artist's production to the construction of landscape images in painting and photography through the panoramas and pictorialists' photomontage. In so doing, I intend to demonstrate how landscape emerges as a problem of representation since the nineteenth century, anticipating some of the issues raised by contemporary art.
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