Tecno–indigenism. Martín Chambi and the duel of the images
The photographic practice of Martín Chambi supposes something more than the accomplishment of admirable photographs. It is a transculturation operation in the framework of a semiotic dispute for authority and legitimacy against the colonial appropriation company that since the mid-nineteenth was mak...
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| Lenguaje: | Español |
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Universidad Nacional del Litoral
2018
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ElTacoenlaBrea/article/view/7757 |
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I26-R133-article-77572018-11-26T17:12:52Z Tecno–indigenism. Martín Chambi and the duel of the images Tecno–indigenismo. Martín Chambi y el duelo de las imágenes Bernabé, Mónica images duel indigenismo Martín Chambi photography imágenes duelo indigenismo Martín Chambi fotografía The photographic practice of Martín Chambi supposes something more than the accomplishment of admirable photographs. It is a transculturation operation in the framework of a semiotic dispute for authority and legitimacy against the colonial appropriation company that since the mid-nineteenth was making the scientific registration of the conquered regions managed by geographers, anthropologists, archaeologists, missionaries, expeditions and entrepreneurs . The counterpoint in the art of Chambi is unleashed by the aesthetic and affective plus with which it portrays a territory and produces a locality in tension with the demands of the primitivist prototypes of international modernism. We will have to take care to reduce the analysis of the images to their themes, concepts, classification schemes, types. We do not propose to explain them but to give an account of the duels, the tears and the tensions that cross them. The aim is to read their critical character in order to distinguish inaudible voices, lost claims, the challenge to the logocentric pattern that rests on the primacy of the word over the image. From this perspective, far from being an illustration or a document, photography dialogues in a singular way with the discursive mass grouped under the label of indigenismo. La práctica fotográfica de Martín Chambi supone algo más que la realización de fotografías admirables. Es una operación de transculturación en el marco de una disputa semiótica por autoridad y legitimidad frente a la empresa de apropiación colonial que desde mediados del XIX venía realizando el registro cientificista de las regiones conquistadas gestionado por geógrafos, antropólogos, arqueólogos, misioneros, expedicionarios y empresarios. El contrapunto en el arte de Chambi se desata por el plus estético y afectivo con que retrata un territorio y produce una localidad en tensión con las demandas de los prototipos primitivistas del modernismo internacional. Habrá que cuidarse de reducir el análisis de las imágenes a sus temas, conceptos, esquemas clasificatorios, tipos. No nos proponemos explicarlas sino dar cuenta de los duelos, los desgarramientos y las tensiones que las atraviesan. Se trata de leer en ellas su carácter crítico para poder distinguir ―en los mudos documentos de archivos― las voces inaudibles, los reclamos perdidos, el desafío al patrón logocéntrico que descansa en la primacía de la palabra sobre la imagen. Desde esta perspectiva, lejos de ser ilustración o documento, la fotografía dialoga de manera singular con la masa discursiva agrupada bajo el rótulo de indigenismo. Universidad Nacional del Litoral 2018-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ElTacoenlaBrea/article/view/7757 10.14409/tb.v1i8.7757 El Taco en la Brea; Vol. 2 Núm. 8 (2018): El taco en la brea; 66-75 El Taco en la Brea; Vol. 2 No. 8 (2018): El taco en la brea; 66-75 2362-4191 10.14409/tb.v2i8 spa https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ElTacoenlaBrea/article/view/7757/11136 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ElTacoenlaBrea/article/view/7757/11192 Derechos de autor 2018 El Taco en la Brea |
| institution |
Universidad Nacional del Litoral |
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I-26 |
| repository_str |
R-133 |
| container_title_str |
Biblioteca Virtual - Publicaciones (UNL) |
| language |
Español |
| format |
Artículo revista |
| topic |
images duel indigenismo Martín Chambi photography imágenes duelo indigenismo Martín Chambi fotografía |
| spellingShingle |
images duel indigenismo Martín Chambi photography imágenes duelo indigenismo Martín Chambi fotografía Bernabé, Mónica Tecno–indigenism. Martín Chambi and the duel of the images |
| topic_facet |
images duel indigenismo Martín Chambi photography imágenes duelo indigenismo Martín Chambi fotografía |
| author |
Bernabé, Mónica |
| author_facet |
Bernabé, Mónica |
| author_sort |
Bernabé, Mónica |
| title |
Tecno–indigenism. Martín Chambi and the duel of the images |
| title_short |
Tecno–indigenism. Martín Chambi and the duel of the images |
| title_full |
Tecno–indigenism. Martín Chambi and the duel of the images |
| title_fullStr |
Tecno–indigenism. Martín Chambi and the duel of the images |
| title_full_unstemmed |
Tecno–indigenism. Martín Chambi and the duel of the images |
| title_sort |
tecno–indigenism. martín chambi and the duel of the images |
| description |
The photographic practice of Martín Chambi supposes something more than the accomplishment of admirable photographs. It is a transculturation operation in the framework of a semiotic dispute for authority and legitimacy against the colonial appropriation company that since the mid-nineteenth was making the scientific registration of the conquered regions managed by geographers, anthropologists, archaeologists, missionaries, expeditions and entrepreneurs . The counterpoint in the art of Chambi is unleashed by the aesthetic and affective plus with which it portrays a territory and produces a locality in tension with the demands of the primitivist prototypes of international modernism. We will have to take care to reduce the analysis of the images to their themes, concepts, classification schemes, types. We do not propose to explain them but to give an account of the duels, the tears and the tensions that cross them. The aim is to read their critical character in order to distinguish inaudible voices, lost claims, the challenge to the logocentric pattern that rests on the primacy of the word over the image. From this perspective, far from being an illustration or a document, photography dialogues in a singular way with the discursive mass grouped under the label of indigenismo.
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| publisher |
Universidad Nacional del Litoral |
| publishDate |
2018 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ElTacoenlaBrea/article/view/7757 |
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