Constructing and deconstructing: The curatorial practices in Joan Fontcuberta’s work
Downloads
Abstract
Joan Fontcuberta is known for his popular “fictions”, works of art that aim to question the dogmas of the photographic medium and the pretended objectivity of the museum institution through fiction. However, Fontcuberta’s career in the world of art is not limited to the production of artwork. Artist, critic, theorist and university professor, Fontcuberta is a multifaceted figure in the world of photography, while also playing an important role on the contemporary scene as a curator. Since 2011, in parallel to his artistic work, he has been invited to leading festivals to organize exhibitions on “post-photography”, a new concept he himself developed after the spread of the Internet and social networks. This article aims to study Joan Fontcuberta’s work in relation to curating practices. Our original perspective will allow us to review his work from a new standpoint and connect the two facets of artist and curator and their respective productions. Thus, the first part of the article will analyse his artistic work through the study of Fauna, while the second part will address his practices as a curator and his role in the creation of post-photography through the study of From Here On.
Keywords
artist curator, contemporary photography, curating, Joan Fontcuberta, MoMA, post-photographyDownloads
References
[1] Bajac, Q., et al. (2015). Photography at MoMA 1960 to Now. Nueva York: MoMA.
[2] Bawin, J. (2014). L’artiste commissaire: entre posture critique, jeu créatif et valeur ajoutée. París: Archives contemporaines.
[3] Berthou Crestey, M. (2010, agosto 25). «Blow Up, Blow Up: prises, reprises, surprises de vue par Joan Fontcuberta». LE REGARD A FACETTES. Últ. Consulta, 12 dic. 2015 [En línea]. http://culturevisuelle.org/regard/archives/307.
[4] Caujolle, C., & Fontcuberta, J. (2001). Joan Fontcuberta. París: Phaidon.
[5] Chalumeau, J.-L. (2013). Les expositions capitales qui ont révélé l’art moderne de 1900 à nos jours. París: Klincksieck.
[6] Chéroux, C. (2008). Joan Fontcuberta. Arles: Actes Sud.
[7] Chéroux, C. (2011). «From Here On, L’Or du temps». Médiathèque des Rencontre de la photographie d’Arles. Últ. Consulta, 15 sept. 2015 [En línea]. http://rencontres-arles-photo.tv.
[8] De Vries, P. (2011). «Documentary Photography & The Historical Archive in Joan Fontcuberta’s Sputnik». The Interdisciplinary Journal of The New School for Social Research. Últ. Consulta, 28 oct. 2015 [En línea]. http://canononline.org/archives/spring-2011/documentary-photography-the-historical-archive-in-joan-fontcuberta%E2%80%99s-sputnik/
[9] Eisinger, J. (1995). Trace and transformation: American criticism of photography in the modernist period. Albuquerque: University of New Mexico Press.
[10] Evans, C. (2015). Entrevista electrónica sobre Fauna y Joan Fontcuberta a Catherine Evans hecha por Ariadna Lorenzo Sunyer.
[11] Evans, D. (ed.) (2009). Appropriation. London, Cambridge, Massachusetts: Whitechapel ; MIT Press.
[12] Filipovic, E. (2013). «When Exhibitions Become Form : On the History of the Artist as Curator». En Steeds, L. (Eds.) (2014). Exhibition. Cambridge, Massachusetts: The MIT Press.
[13] Fontcuberta, J. (1991). Entrevista a Joan Fontcuberta por A. D. Coleman en el Journal of Contemporary Art [En línea].
[14] Fontcuberta, J. (2007, febrero 2). «El engaño hecho arte». El País. [En línea].
[15] Fontcuberta, J. (Ed.). (2010a). A través del espejo. Madrid: Oficina de Arte y Ediciones.
[16] Fontcuberta, J. (2010b). La cámara de Pandora: la fotografía después de la fotografía. Barcelona: Gustavo Gili.
[17] Fontcuberta, J. (2011 [1996]). El beso de Judas: fotografía y verdad. Barcelona: Gustavo Gili.
[18] Fontcuberta, J. (2011). «Por un manifiesto posfotográfico». La Vanguardia [En línea].
[19] Fontcuberta, J., et al. (2011). From Here On / A partir de maintenant. Arles: Les Rencontres d’Arles.
[20] Fontcuberta, J. et al. (2013). Camouflages. Barcelona: Editorial Gustavo Gili.
[21] Fontcuberta, J. (2014a). «Le Mois de la Photo à Montréal en régime post-photographique» y «Vers une littéracie de l’image. Une discussion avec le commissaire Joan Fontcuberta». Artichautmag.com - Le magazine des étudiant/e/s en art de l’UQAM. Últ. Consulta, 15 julio 2015 [En línea].
[22] Fontcuberta, J. (2014b). Trepat. París: Editions Bessard [En línea].
[23] Fundació Foto Colectània. (2013). «Obra-colección. El Artista como coleccionista ». Últ. Consulta, 10 nov. 2015 [En línea].
https://fotocolectania.wordpress.com/category/exposiciones/obra-coleccion/
[24] García Sedano, M. (2015). «Una revisión del concepto de postfotografía. Imágenes contra el poder desde la red». Liño. Revista Anual de Historia del Arte, 21 (21) [En línea].
[25] Gergel, G. F. (2012). «From Here On: Neo Appropriation Strategies in Contemporary Photography«. Interverntions: The Online Journal of Columbia University’s Graduate Program in Modern Art: Critical and Curatorial Studies, 1(2). [En línea].
[26] Glicenstein, J. (2009). L’art, une histoire d’expositions. París: Presses universitaires de France.
[27] Glicenstein, J. (2015). L’invention du curateur: mutations dans l’art contemporain. París: Presses universitaires de France.
[28] Greenberg, R., Ferguson, B. W., & Nairne, S. (Eds.). (1996). Thinking about exhibitions. Londres; Nueva York: Routledge.
[29] Groys, B. (2005). «Multiple Authorship». En B. Vanderlinden & E. Filipovic (Eds.), The Manifesta decade: debates on contemporary art exhibitions and biennials in post-wall Europe. Cambridge: The MIT Press.
[30] Heinich, N. (2014). Le paradigme de l’art contemporain: structures d’une révolution artistique. París: Gallimard.
[31] Heinich, N., & Pollak, M. (1989). «Du conservateur de musée à l’auteur d’expositions : l’invention d’une position singulière». Sociologie du Travail, 31(1), 29-49.
[32] Manovich, L. (1995). «The paradoxes of digital photography. En Photography after photography». Múnic: Verlag der Kunst.
[33] Mitchell, W. J. (2001). The reconfigured eye: visual truth in the post-photographic era (4th printing). Cambridge/Massachusetts ; London: MIT Press.
[34] Mauro, A. (2014). Photoshow. Landmark exhibitions that defined the history of photography. Londres: Contrasto.
[35] MoMA (s. f.) a. MoMA | Projects Series [The Elaine Dannheisser Projects Series]. Últ. Consulta, 6 oct. 2015 [En línea]
https://www.moma.org/interactives/exhibitions/projects/about/
[36] MoMA y Evans, C. (1988, junio). PROJECTS: Joan Fontcuberta/Pere Formiguera. Nueva York : MoMA | Exhibition Files of The Museum of Modern Art in The Museum of Modern Art Archives. [Comunicado de prensa]. Últ. Consulta, 6 oct. 2015 [En línea].
https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/6543/releases/ MOMA_1988_0046_47.pdf?2010
[37] MoMA y Szarkowski, J. (1985). The Museum of Modern Art For Immediate Release. NEW PHOTOGRAPHY. Nueva York : MoMA | Exhibition Files of The Museum of Modern Art in The Museum of Modern Art Archives. Comunicado de prensa (junio 1988). Últ. Consulta, 6 oct. 2015 [En línea]
https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/6208/releases/ MOMA_1985_0062_61a.pdf?2010
[38] Musée Nicéphore Niépce. (2011). «Monumentalbum. Un projet photographique participatif». Musee Niepce. Últ. Consulta, 18 dic. 2015 [En línea]
http://www.museeniepce.com/index.php/musee/mediation/Mediation-Hors-les-murs
[39] O’Neill, P., & Søren, A. (Eds.). (2007). Curating subjects. Londres: Open Editions.
[40] Phillips, C. (1982). «The Judgment Seat of Photography». October, 22, 27-63.
[41] Ribalta, J. (2009). Espacios fotográficos públicos: exposiciones de propaganda, de Pressa a The family of Man, 1928-1955. (Museu d’Art Contemporani de Barcelona (España), Ed.). Barcelona: Museu d’Art Contemporani de Barcelona.
[42] Robins, K. (1997). La imagen fotográfica en la cultura digital. Barcelona: Paidós.
[43] Science Museum. (2012, febrero 21). Joan Fontcuberta: Stranger Than Fiction [página web]. Últ. Consulta, 21 nov. 2015 [En línea].
[44] Stange, M. (1978). «Photography and the Institution: Szarkowski at the Modern». The Massachusetts Review, 19(4), 693-709.
[45] Staniszewski, M. A. (1998). The power of display: a history of exhibition installations at the Museum of Modern Art. Cambridge Mass. [etc.]: The Mit Press.
[46] Tagliaventi, A. (2014). «Photography at MoMA: Four Landmark Exhibitions». En Mauro, A. (ed.) (2014). Photoshow. Landmark exhibitions that defined the history of photography. Londres: Contrasto.
[47] Wells, L. (2015). Photography: a critical introduction (5th ed). Londres; Nueva York: Routledge.