Imágenes que desorientan: una instalación con múltiples caras
DOI:
https://doi.org/10.5944/etfvii.4.2016.15498Palabras clave:
Arte, política, estética, desorientación, espacioAgencias Financiadoras:
Mieke Bal, University of AmsterdamResumen
En este artículo, me centro en tres tácticas artísticas que identifico en la instalación de Vahit Tuna, de la exposición «Siempre somos espectadores…» organizada en el espacio DEPO, de Estambul en 2011. Dichas tácticas son la reconfiguración del espacio, la superimposición de diferentes elementos visuales y la apertura de canales afectivos. El análisis de esas tres vías va más allá de esta instalación en concreto, lo que permite explorar el rol de la distancia, la correlación entre la proximidad física y la habilidad para entender una imagen, el género del retrato y su subversión, el rol del afecto en el hecho de desafiar la fijeza en la representación de los símbolos nacionales. De este modo, se explorará la noción de la «desorientación» en relación a una discusión general de la estética y la política.
In this article, I focus on three artistic tactics that I identify in Vahit Tuna’s bust installation from the exhibition «We were always spectators…» in the art space DEPO, Istanbul, 2011: the reconfiguration of space, the superimposition of different visual elements, and the opening up of affective channels. The analysis of these tactics go beyond this specific installation and allows me to explore the role of distance, the correlation between physical closeness and the ability to grasp an image, the genre of portraiture and its subversion, and the role of affect in challenging the representational fixities of national symbols. In this way, I explore the notion of «disorientation » with regard to a more general discussion of aesthetics and politics.
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