Edición de Joan Fontcuberta y Joaquín Gallego
352 fotografías en color
Flexbinder con faja serigrafiada
392 páginas
200 x 150 mm
2010
"A través del espejo" brings together more than three hundred anonymous self-portraits from the Internet, compiled and edited by Joan Fontcuberta and Joaquín Gallego.
The mirror and the photographic camera, through which the "miracle" of the unified vision of the photographer and his portrait seems to be worked, have a double function in this varied exhibition of photographs that enables self-representation and, at the same time, the public dissemination of personal images over the Internet. Individual, couple or group self-portraits, taken in public or private spaces, with cameras or mobile phones that capture different situations, gestures and poses in which the photographer wishes to portray himself, give a good account of the social extension of iconophilia in a time in which the exhibition of the intimate seems to have become the common expression of subjectivity. Accessible to anyone and directed at the potential gaze of the "other" of the Internet, they are reproduced here following the anonymous flow of their circulation on the Internet, in random series that seem to function by accumulation, but whose effect is the annulment or disappearance of the intimate. for the sake of the spectacular dimension in which its visibility is promoted.
The texts published alongside these photographs raise different interpretative keys from which to approach a reflection, in line with these images, on the modes of representation of subjectivity and intimacy. Thus, Joan Fontcuberta, in his founding essay "The Dance of Mirrors (identity and photographic flows on the Internet)", establishes a new stage in the interpretation of the history of photography, pointing out in this unprecedented anthropological and visual phenomenon, a before and after within its historical course.
The art critic Estrella de Diego, in “Espejos sin alinde”, proposes to review the issues surrounding the concepts of autobiography and self-portrait.
The third text, by the semiologist Roman Gubern, "The mirror is the eye of the soul", presents this photographic compilation as a sample of the evolution of the "society of the spectacle" into a "voyeur society" ("if you are not visible, you are not you exist»).
The photographer Alberto García-Alix, in "The Mirror Guerrilla", interprets this new photographic phenomenon in a political key and proposes a transgressive attitude towards the globalization of images.
The philosopher and psychoanalyst Jorge Alemán, in his "Speculations", takes up the Lacanian concept of "extimacy" in an essay halfway between fiction and reality (the "extimate" is not reflected in the mirror).
The mirror and the photographic camera, through which the "miracle" of the unified vision of the photographer and his portrait seems to be worked, have a double function in this varied exhibition of photographs that enables self-representation and, at the same time, the public dissemination of personal images over the Internet. Individual, couple or group self-portraits, taken in public or private spaces, with cameras or mobile phones that capture different situations, gestures and poses in which the photographer wishes to portray himself, give a good account of the social extension of iconophilia in a time in which the exhibition of the intimate seems to have become the common expression of subjectivity. Accessible to anyone and directed at the potential gaze of the "other" of the Internet, they are reproduced here following the anonymous flow of their circulation on the Internet, in random series that seem to function by accumulation, but whose effect is the annulment or disappearance of the intimate. for the sake of the spectacular dimension in which its visibility is promoted.
The texts published alongside these photographs raise different interpretative keys from which to approach a reflection, in line with these images, on the modes of representation of subjectivity and intimacy. Thus, Joan Fontcuberta, in his founding essay "The Dance of Mirrors (identity and photographic flows on the Internet)", establishes a new stage in the interpretation of the history of photography, pointing out in this unprecedented anthropological and visual phenomenon, a before and after within its historical course.
The art critic Estrella de Diego, in “Espejos sin alinde”, proposes to review the issues surrounding the concepts of autobiography and self-portrait.
The third text, by the semiologist Roman Gubern, "The mirror is the eye of the soul", presents this photographic compilation as a sample of the evolution of the "society of the spectacle" into a "voyeur society" ("if you are not visible, you are not you exist»).
The photographer Alberto García-Alix, in "The Mirror Guerrilla", interprets this new photographic phenomenon in a political key and proposes a transgressive attitude towards the globalization of images.
The philosopher and psychoanalyst Jorge Alemán, in his "Speculations", takes up the Lacanian concept of "extimacy" in an essay halfway between fiction and reality (the "extimate" is not reflected in the mirror).