Papers by Hubertus von Amelunxen
Minerva: Revista del Círculo de Bellas Artes, 2008
VON AMELUNXEN La skiagrafía significa la sombra, la ausencia de referente. En su obra, Mémoires d... more VON AMELUNXEN La skiagrafía significa la sombra, la ausencia de referente. En su obra, Mémoires d'aveugle, usted habla de la skiagrafía, que parece prefigurar la huella de un presente ausente. El inventor del negativo fotográfico, William Henry Fox Talbot, denominó a su invento skiagrafía y también words of light. En 1837 hizo un cliché fotográfico en el que inscribió el alfabeto, el lugar y la fecha, como si hubiera querido demostrar que todo alfabeto podía entrar en la imagen y que la fotografía iba a ser el primer medio óptico que penetrara en el reino de la escritura y que haría entrar a la escritura en la esencia misma de la imagen. En Mémoires d'aveugle usted habla de la skiagrafía, de la escritura de la sombra, como de una memoria simultánea, una memoria del presente, una división del instante. Pero, ¿de dónde viene esa memoria del instante, de dónde procede este archivo del presente?
Schirmer/Mosel , Kunstmuseum, c2009, 2009
Quaderns d'arquitectura i urbanisme, 2002
Metabasis - Transkriptionen zwischen Literaturen, Künsten und Medien, 2010
Berichte des German Chapter of the ACM, 2001
Copy, Archive, Signature, 2020
This book makes available for the first time in English-and for the first time in its entirety in... more This book makes available for the first time in English-and for the first time in its entirety in any language-an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-a-vis related technologies such as cinema, television, and video. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention. Copy, Archive, Signature will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time.
En 1992, los profesores Hubertus von Amelunxen, teorico de la fotografia, y Michael Wetzel, exper... more En 1992, los profesores Hubertus von Amelunxen, teorico de la fotografia, y Michael Wetzel, experto en teoria de la literatura, ambos buenos conocedores de la obra de Jacques Derrida, mantuvieron una profunda conversacion con el filosofo frances sobre la especificidad del medio fotografico, y sobre lo que la fotografia nos puede revelar acerca de la naturaleza de la imagen, la mirada y el referente. Minerva reproduce los fragmentos mas relevantes de esa extensa entrevista y la acompana con una seleccion del trabajo de algunos de los grandes fotografos del siglo XX.
This publication documents the first of four exhibitions in which an artist is invited to create ... more This publication documents the first of four exhibitions in which an artist is invited to create a project based on photographs from the CCA’s collection. In an interview with Von Amelunxen, Paiement sets out the themes common to both the photographs he selected and his photomontage, “Fractal Palace”: the construction of images and buildings; narration; transparency. With reference to painting, Paiement details how his works explore two conceptions of space — namely, as centred and panoramic. Texts in English and French. Biographical notes on the artist and author. List of works. 4 bibl. ref.
Over the past 30 years, Victor Burgin (born in 1941) has become both a highly influential artist ... more Over the past 30 years, Victor Burgin (born in 1941) has become both a highly influential artist and a renowned theorist of the still and moving image, with work in the collections of The Museum of Modern Art, New York and the Tate Modern in London. Burgin rose to prominence in the late 1960s as an originator of Conceptual art. In the 1970s he worked in large framed photographic sequences, in which printed texts were either juxtaposed with or superimposed on the images. In the 1990s he turned towards digital video. The historian and critic Stephen Bann has written that Burgin's "exploitation of new technologies is itself fairly uninteresting compared with the remarkable consistency of the underlying themes and propositions of his work," among them narrative, memory and fantasy. These duotones refute all that uninteresting technology to offer Burgin's reflections on Pompeii, gleaned through his research of nineteenth-century photographs.
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Papers by Hubertus von Amelunxen