Olhares sobre a arquitetura, arquiteturas do olhar: uma outra abordagem para o imaginário fotográfico contemporâneo do espaço construído

• Ano de defesa: 2015
• Autor(a) principal: Junia Mortimer Cambraia
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Espaço; Campo em expansão; Fotografia; Estranhamento familiar; Construção; Arquitetura; Espaço (Arquitetura); Arte e fotografia; Espaço (Arte); Fotografia arquitetônica
• Link de acesso: http://hdl.handle.net/1843/BUBD-9ZPHD2

The objective of this research is to explore the relationship between space and image. It highlights the experience of "disturbance" (unheimlich) caused by some contemporary photographic practices that represent architecture and built space. I propose a new approach to this type of image in contemporary art. Following a theoretical and historical approach about the representation of built space in photography, I also take into account the discussions of important works such as Walter Benjamin (1931), André Bazin (1945), Rudolf Arnheim (1974), Susan Sontag (1979), Roland Barthes (1980), Philippe Dubois (1983) Rosalind Krauss (1990) and Andre Rouillé (2003), among others. This new approach expands the interpretive and experimental possibilities of photographic images, taking into account its intellectual implications both in the disciplinary field of arts that and in the imaginative field of architecture. That approach brings images into a conceptual space that I denominate "the expanding field, following the concept of' sculpture's expanded field, proposed by Rosalind Krauss in 1979. The expanding field temporarily suspends the disciplinary boundaries between architecture, built space and photography. Thus, we multiply the possibilities of visual existence of space and the opportunities for spatial existence of the image. The expanding field is a system based on three unifying principles for organizing images: these principles are the gaze, the object and the space. These principles are not a rigid structure of classification. They constitute temporary gatherings, manifestations of contemporary imagination. Each group of images in the expanding field has a specific syntax. For the principle of the gaze, the syntax is architecture of photography; to that of the object, architecture with photography; and finally, for the one of space, architecture after photography. Each syntax includes a specific universe of questions from photography about the idea of building and the experience of space. The creation of this conceptual field, whose disciplinary boundaries are suspended, has highlighted the drive to become object and space present in photography as contemporary art. This impulse tends to promote a more tactile look, as described by Maurice Merleau-Ponty (1969), making it more tangible what is visible.