The charm of the forger
Despite the confusing yet attractive name of “false documentary” to describe the cinematographic modality with which Orson Welles’s F for Fake (1974) inaugurated an era, his unstoppable recurrence to such distinctive and diverse concepts such as false, falsification, fraud, magic and even truth and...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2016
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14858 |
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I10-R324-article-14858 |
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I10-R324-article-148582020-02-06T14:30:35Z The charm of the forger La paradoja del falsificador Koldobsky, Daniela Artes visuales Falsificación Tekhné Artista Visual Arts falsification tekhné artist Despite the confusing yet attractive name of “false documentary” to describe the cinematographic modality with which Orson Welles’s F for Fake (1974) inaugurated an era, his unstoppable recurrence to such distinctive and diverse concepts such as false, falsification, fraud, magic and even truth and lies (both added to the title of the French and Spanish version of the documentary) are not central to this work. Neither is the documentary as discourse, or other important notions. What is at the center of this article is one of the topics Welles addresses in his last work: falsification and the falsifier. The latter will be analyzed in relation to the famous person with whom he confronts – the artist, with a double object. In the first place, the purpose is to examine the work in Visual Arts, as modern and contemporary art in its diverse disciplines and languages have done none other than make evident the diversity and extension of operational and productive modes that very often question every specificity of the artistic work. And in second place, the aim is to demonstrate how, apart from showing the high standing of the figure of artist, the falsifier hides a fundamental paradox: it questions the statute of the artist as creator but its existence depends on keeping that statute alive A pesar de la atractiva y confusa denominación de “falso documental” para una modalidad cinematográfica con la que F for Fake de Orson Welles (1974) inauguró una época, no está en el centro de este trabajo su imparable recurrencia a conceptos tan distintivos como diversos entre sí -tales como falso, falsificación, fraude, magia, e incluso verdad y mentira (ambas agregadas en el título de la versión del documental en francés y en español)-. Tampoco está el documental como discurso, ni otras importantes nociones. Lo que sí ocupa el centro de este artículo es uno de los temas tratados en ese último trabajo de Welles: la falsificación y la figura del falsificador. Este último será analizado en relación con la célebre figura con la que confronta - la de artista, con un doble objeto. En primer lugar, se trata de examinar el trabajo en las artes visuales, en tanto el arte moderno y contemporáneo en sus diversas disciplinas y lenguajes no han hecho más que evidenciar la diversidad y extensión de modos de producción y operatorias que muchas veces cuestionan toda especificidad del trabajo artístico. Y en segundo lugar, se pretende demostrar cómo, además de patentizar el lugar que en nuestra sociedad tiene la figura del artista, el falsificador esconde una paradoja fundamental: cuestiona el estatuto de artista creador pero su existencia depende de que ese estatuto se mantenga vivo. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2016-03-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14858 10.31056/2250.5415.v6.n1.14858 Ética y Cine Journal; Vol. 6 Núm. 1 (2016): La ética y el espectáculo del Mal; 23-31 2250-5415 2250-5660 10.31056/2250.5415.v6.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14858/14813 Derechos de autor 2016 Ética&Cine Journal |
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Universidad Nacional de Córdoba |
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Ética y Cine Journal |
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Español |
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Artículo revista |
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Artes visuales Falsificación Tekhné Artista Visual Arts falsification tekhné artist |
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Artes visuales Falsificación Tekhné Artista Visual Arts falsification tekhné artist Koldobsky, Daniela The charm of the forger |
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Artes visuales Falsificación Tekhné Artista Visual Arts falsification tekhné artist |
| author |
Koldobsky, Daniela |
| author_facet |
Koldobsky, Daniela |
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Koldobsky, Daniela |
| title |
The charm of the forger |
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The charm of the forger |
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The charm of the forger |
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The charm of the forger |
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The charm of the forger |
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charm of the forger |
| description |
Despite the confusing yet attractive name of “false documentary” to describe the cinematographic modality with which Orson Welles’s F for Fake (1974) inaugurated an era, his unstoppable recurrence to such distinctive and diverse concepts such as false, falsification, fraud, magic and even truth and lies (both added to the title of the French and Spanish version of the documentary) are not central to this work. Neither is the documentary as discourse, or other important notions. What is at the center of this article is one of the topics Welles addresses in his last work: falsification and the falsifier. The latter will be analyzed in relation to the famous person with whom he confronts – the artist, with a double object. In the first place, the purpose is to examine the work in Visual Arts, as modern and contemporary art in its diverse disciplines and languages have done none other than make evident the diversity and extension of operational and productive modes that very often question every specificity of the artistic work. And in second place, the aim is to demonstrate how, apart from showing the high standing of the figure of artist, the falsifier hides a fundamental paradox: it questions the statute of the artist as creator but its existence depends on keeping that statute alive |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2016 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14858 |
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