{"id":6056,"date":"2020-10-17T05:04:53","date_gmt":"2020-10-17T05:04:53","guid":{"rendered":"http:\/\/www.antropologiavisual.com.ar\/?post_type=project&p=6056"},"modified":"2024-12-10T15:26:19","modified_gmt":"2024-12-10T15:26:19","slug":"mirada-exposicion-y-dipositivo","status":"publish","type":"project","link":"https:\/\/www.antropologiavisual.com.ar\/en\/project\/mirada-exposicion-y-dipositivo\/","title":{"rendered":"Gaze, exhibition and display"},"content":{"rendered":"

[et_pb_section fb_built=\u00bb1″ fullwidth=\u00bbon\u00bb admin_label=\u00bbsection\u00bb _builder_version=\u00bb4.16″ background_color=\u00bb#b2a16a\u00bb transparent_background=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_fullwidth_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/danzar.jpg\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_row column_structure=\u00bb2_5,3_5″ _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb2_5″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][\/et_pb_column][et_pb_column type=\u00bb3_5″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb0px|||||\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n

Gaze, Exposure and Apparatus<\/strong><\/h2>\n

Greta Winckler, Paula Bruno Garc\u00e9n<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_text _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n

\n

Abstract<\/p>\n<\/blockquote>\n

Images are not simply in the world: they are anchored in a certain \u201cstaging\u201d that conditions and demarcates the ways in which we symbolize them. Embodied in different media and spaces, through different techniques, the materialities involved in the creation of images demarcate how we encounter or how we position ourselves before them. There are different terms that help us to think about this interweaving of the material and the symbolic. One of them is apparatus<\/p>\n

Derived from the Latin dispono (to arrange, place, distribute, order), it has had different uses and applications. In the field of image theory, we can think of it as everything that, inside or outside the margins of the image, contributes to arranging the space of the image itself and to organizing its relationship with the viewer, configuring the gaze in some way. In this way, the device has a material-spatial dimension (for example, by framing the images or creating margins) and at the same time a mental dimension, linked to how we receive the images. In other words, the different optical-spatial articulations shape specific conceptions of vision and of the subject in relation to the world. Every device then puts into play a lighting regime, as well as distributing or programming the order of bodies, surfaces and gazes. What is interesting in these cases is that the activity that is decided in the devices has no pre-given or natural foundation, for this reason the devices always imply a process of subjectivation: they must produce a subject.<\/p>\n

If we talk about staging and devices, exhibition spaces become privileged sites to understand how a gaze is configured, how an object of interest is created or even how the difference is drawn between subjects who look and those who are looked at. Without a doubt, museums are the devices par excellence to think about this construction of subjectivities, whatever their type. In all these places, the fundamental gesture is that of assembling, which implies arranging images and artifacts and generating new relationships between them, previously unthinkable, that form new ways of knowing, true visual forms of knowledge.<\/p>\n

Exhibitions, museums (artistic, historical, anthropological, scientific), optical viewing rooms, and a long etcetera are the focus of attention of the various works framed within this line of research. Included here are the projects that investigate these different exhibition spaces, their exhibition strategies and the montages that are put into play, thinking of them as devices that create objects of interest. These perpetuate or rebel against old views: either they make their montage experiences tools that reflect and support the status quo; or they can be thought of as \u201cwar machines\u201d (as Georges Didi-Huberman proposes), bearers of unfinished meanings and in constant movement, which question the current state of things. It is in these montages - dialectical, critical - that true spaces of thought are built<\/p>\n

\n

Publications<\/p>\n<\/blockquote>\n

Winckler, Greta y Julieta Pestarino, \u201cDerivas fotogr\u00e1ficas. Retratos de Hans Mann en el Gran Chaco\u201d, Campos, Revista de Antropolog\u00eda. Vol. 23, N\u00ba1, Brasil, 2022.<\/a><\/p>\n

Bruno Garc\u00e9n, Paula, \u201cDel relato curatorial al montaje dial\u00e9ctico: Arte y ciencia en Londres, 1951-1953. Bolet\u00edn De Arte, (21), e027, 2021.<\/a><\/p>\n

Winckler, Greta \u201cRepertorios iconogr\u00e1ficos en tensi\u00f3n: miradas contrapuestas en una experiencia de montaje.\u201d Po\u00e9ticas de la interpelaci\u00f3n: espacios y visualidades p\u00fablicas Rosario: Humanidades y Artes Ediciones – HyA ediciones, 2021.<\/a><\/p>\n

Bruno Garc\u00e9n,Paula y Greta Winckler, \u201c\u00bfDanzar sin movimiento? La gesti\u00f3n de la mirada en un museo etnogr\u00e1fico\u201d, Revista de Antropolog\u00eda Visual, n\u00famero 28. Servicio Nacional de Patrimonio Cultural, Santiago de Chile, 2020<\/a><\/p>\n

Bruno Garc\u00e9n, Paula, \u201cDe la ciencia al espect\u00e1culo. Vistas urbanas en los salones de proyecciones \u00f3pticas durante la d\u00e9cada de 1850 en Buenos Aires\u201d, Terra Brasilis, 12, 2019.<\/a><\/p>\n

 <\/p>\n

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Mirada, Exposici\u00f3n y Dispositivo Greta Winckler, Paula Bruno Garc\u00e9n Resumen Las im\u00e1genes no est\u00e1n simplemente en el mundo: se anclan en una determinada \u201cpuesta en escena\u201d que condiciona y demarca los modos en que las simbolizamos. Encarnadas en distintos medios y espacios, a trav\u00e9s de distintas t\u00e9cnicas, las materialidades involucradas en la confecci\u00f3n de im\u00e1genes demarcan c\u00f3mo nos encontramos con o c\u00f3mo nos posicionamos ante ellas. Hay distintos t\u00e9rminos que ayudan a pensar esa imbricaci\u00f3n de lo material y lo simb\u00f3lico. Uno de ellos es \u201cdispositivo\u201d. Derivado del lat\u00edn dispono (disponer,colocar, distribuir, ordenar), tuvo diferentes usos y aplicaciones. En el campo de la teor\u00eda de las im\u00e1genes, podemos pensarlo como todo aquello que, al interior o exterior de los m\u00e1rgenes de la imagen, contribuye a disponer el espacio de la imagen en s\u00ed y a organizar su relaci\u00f3n con el espectador, configurando de alg\u00fan modo la mirada. De este modo, el dispositivo tiene una dimensi\u00f3n material-espacial (por ejemplo, al darle marco a las im\u00e1genes o crear m\u00e1rgenes) y al mismo tiempo una dimensi\u00f3n mental, vinculada a c\u00f3mo recibimos las im\u00e1genes. Es decir que las distintas articulaciones \u00f3ptico-espaciales dan forma a concepciones espec\u00edficas de la visi\u00f3n y del sujeto frente al […]<\/p>","protected":false},"author":1,"featured_media":6059,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"footnotes":""},"project_category":[79,75,81,49],"project_tag":[],"class_list":["post-6056","project","type-project","status-publish","has-post-thumbnail","hentry","project_category-greta-winckler","project_category-imagen-y-ciencia","project_category-paula-bruno","project_category-proyectos-finalizados"],"yoast_head":"\nMirada, exposici\u00f3n y dipositivo - \u00c1rea de Antropolog\u00eda Visual<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.antropologiavisual.com.ar\/en\/project\/mirada-exposicion-y-dipositivo\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mirada, exposici\u00f3n y dipositivo\" \/>\n<meta property=\"og:description\" content=\"Mirada, Exposici\u00f3n y Dispositivo Greta Winckler, Paula Bruno Garc\u00e9n Resumen Las im\u00e1genes no est\u00e1n simplemente en el mundo: se anclan en una determinada \u201cpuesta en escena\u201d que condiciona y demarca los modos en que las simbolizamos. 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