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Diálogos e contaminações entre fotografia e pintura : alteração e manipulação da memória na fotografia
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Abstract(s)
Photography had a very strong relationship with the theme of memory, photography being one of the best methods of preserving events and recording memory, capable of capturing what the mind has forgotten, through a myriad of recall processes. The event event-preserving ability of photography comes from its method of production, due to the fact that the photograph is created by the chemical recording of reflected light. Due to the nature of this reflection, it can be said that the light was in contact and that it preserves in the photograph this contact with the object or event represented in the image. The mind is fallible, within both personal and collective memory there are processes through which the mind tries to completely for get what it considers irrelevant, to join several memories or to fill in the missing content with information information. Photography is one of the best methods of overcoming the fallacy of memory, visually showing what it has been forgotten and allowing to trigger the remembering process. But the processes by which photography helps to recall what memory may have forgotten are also themselves fallible, the image can be altered in ways that make the viewer remember differently and in some cases build or eliminate, accidentally or on purpose, narratives within the individual's memory or within the collective memory of a group. Photopainting imitates the photographic processes and as such also imitates the mnemonic processes that impact photography, which makes me wonder, in this project, how our collective memory can be impacted in the future by a perverse or misguided use of photopainting
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Keywords
Agostinho, Rodrigo, 1998- Richter, Gerhard, 1932- Tuymans, Luc, 1958- Fotografia Pintura Memória