Blow Up versus La Festa

La imatge de la Festa d’aquest any ha estat realitzada a partir d’ampliacions de postals antigues de Portbou amb la intenció d’investigar els resultats de l’ampliació de la trama a la recerca d’imatges cada vegada més abstractes, misterioses i suggerents.

Hem trobat un article de Design Observer que parla de la mítica pel·lícula Blow Up i que volem compartir amb vosaltres.

Una de les escenes crucials en Blow Up (1966) de Michelangelo Antonioni segueix al protagonista, Thomas, mentre amplia una sèrie d’imatges. A partir d’aquests primers plans, descobreix que, accidentalment, va fotografiar un assassinat. L’espectador ha de decidir si aquestes fotografies són l’evidència d’un crim o simplement formes abstractes. El nucli d’aquesta pregunta toca la nostra necessitat d’assignar una narrativa a qualsevol forma, patró i imatge que veiem.

L’escena de l’ampliació al centre de la pel·lícula obliga el públic a participar en la idea de la fotografia com una representació de la realitat. Estem condicionats a entendre que una fotografia és un registre honest d’un objecte, temps i lloc. Deixant de banda el problema de la manipulació de fotos, Blow Up postula que una fotografia no representa la realitat. Una fotografia és una col·lecció de formes, gra o píxels que creen una imatge. Quan s’engrandeix, la imatge és cada vegada més abstracta i oberta a la interpretació.

Podeu llegir (en anglès) l’article complet aquí.




Blow Up versus La Festa

La imagen de la Festa de este año ha sido realizada a partir de ampliaciones de postales antiguas de Portbou con la intención de investigar los resultados de la ampliación de la trama en busca de imágenes cada vez más abstractas, misteriosas y sugerentes.

Hemos encontrado un artículo de Design Observer que habla de la mítica película Blow Up y que queremos compartir con vosotros.

Una de las escenas cruciales en Blow Up (1966) de Michelangelo Antonioni sigue al protagonista, Thomas, mientras amplía una serie de imágenes. A partir de estos primeros planos, descubre que, accidentalmente, fotografió un asesinato. El espectador debe decidir si estas fotografías son la evidencia de un crimen o simplemente formas abstractas. El núcleo de esta pregunta toca nuestra necesidad de asignar una narrativa a cualquier forma, patrón e imagen que veamos.

La escena de la ampliación en el centro de la película obliga al público a participar en la idea de la fotografía como una representación de la realidad. Estamos condicionados a entender que una fotografía es un registro honesto de un objeto, tiempo y lugar. Dejando de lado el problema de la manipulación de fotos, Blow Up postula que una fotografía no representa la realidad. Una fotografía es una colección de formas, grano o píxeles que crean una imagen. Cuando se agranda, la imagen es cada vez más abstracta y abierta a la interpretación.

Podéis leer (en inglés) el artículo completo aquí.



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