II Jornadas sobre Investigación en Historia de la Fotografía. Zaragoza. 25-27 de octubre de 2017
Este año he podido asistir, a mi pesar sólo a la mitad de ellas, a las
Pienso que, a veces, no es bueno personalizar a los organizadores, instituciones y personas, de los congresos/jornadas pero, otras veces, es necesario, obligado, hacerlo.
Que
la Institución Fernando el Católico (CSIC) haya sido capaz de
realizarlas y atraer a tantos y tan calificados ponentes es un éxito y
supone un enorme trabajo de la institución, su gente y la persona que
coordinó y dirigió todo D. José Antonio Hernández Latas al que conocí en
persona después de conocerlo anteriormente a través de sus estudios
sobre fotografía.
Tal y como dice la presentación:
............ las Jornadas están dirigidas no solo al ámbito académico y universitario (estudiantes, investigadores, profesores, etc.), sino también hacia todos aquellos profesionales (archiveros, conservadores de colecciones, museos, etc.) vinculados al mundo del patrimonio fotográfico y también al cada vez más numeroso público de aficionados y amantes de la fotografía..............
Yo estoy incluído en este último grupo, el menos profesional de todos y, a la vez, el más deseoso de aprender sobre fotografía.
Y, desde este punto de vista, el de la fotografía como arte, quisiera hacer una reflexión personal:
Si
admitimos, por lo menos yo así lo hago, a la fotografía como un arte, su
estudio (el de la fotografía y el del fotógrafo y su entorno) no deben
olvidar este "componente artístico en la investigación"
Lo
digo porque ví, veo, a los historiadores de la fotografía muy centrados
en el dato del lugar y del personaje, en la fecha del personaje o lugar (no de la foto o fotos
del fotógrafo estudiado), en el árbol genealógico del fotografiado, en el pueblo fotografiado. Poco se dice
en la foto misma, de las exposiciones en que participó, de su calidad
artística en relación con otros fotógrafos de su entorno, y, lo más importante, del carácter
que hace que sus fotos "hechas en el ayer nos atraigan en el hoy."
Pienso,
quizás esté equivocado, que si leo un estudio sobre un fotógrafo al
final me debe quedar clara una cosa al menos ya que una es la pregunta que yo me hago cuando empiezo a leer sobre un artista :
¿Por qué es tan bueno este fotógrafo que han realizado un estudio sobre él?
Si la
respuesta son datos y no son las cualidades artísticas del fotógrafo, su técnica y su arte, supongo que lo pasaré bien al leer el estudio y
pronto lo olvidaré.
En fin, este post ha salido demasiado filosófico, pido disculpas por ello.
Vaya, repito, mi enhorabuena por la organización de estas jornadas, que tan difíciles son de realizar en España.
En ( google translate)
This year I was able to attend, despite only half of them, to the
II Conference on Research in History of Photography.
Program pdf.
I think that sometimes it is not good to personalize the organizers, institutions and people of events but, at other times, it is necessary, obligated, to do so.
That the Institution Fernando el Católico (CSIC) has been able to carry them out and attract so many and so qualified speakers is a success and represents a huge work of the institution, its people and the person who coordinated and directed all José Antonio Hernández Latas to whom I met in person after meeting him previously through his studies on photography.
As the presentation says:
............ the seminars are aimed not only at the academic and university level (students, researchers, professors, etc.), but also towards all those professionals (archivists, curators of collections, museums, etc. .) linked to the world of photographic heritage and also to the increasingly large audience of fans and lovers of photography ..............
I am included in this last group, the least professional of all and, at the same time, the most eager to learn about photography.
And, from this point of view, that of photography as art, I would like to make a personal reflection:
If we admit, at least I do, photography as an art, its study (photography and the photographer and its environment) should not forget this "artistic component in research"
I say it because I saw, I see, the historians of photography very focused on the data of the place and the character, the date of the person or place (not the photo or photos of the photographer studied), in the family tree of the photographed, in the village photographed. Little is said in the photo itself, the exhibitions in which he participated, his artistic quality in relation to other photographers in his environment, and, most importantly, the character that makes his photos "made in yesterday attract us in the today."
I think, maybe I'm wrong, that if I read a study about a photographer in the end I must be clear one thing at least since one is the question that I ask myself when I start reading about an artist:
Why is this photographer so good that they have done a study about him?
If the answer is data and are not the artistic qualities of the photographer, his technique and his art, I guess I'll have a good time reading the study and soon forget.
Anyway, this post has come out too philosophical, I apologize for it.Go, I repeat, my congratulations for the organization of the event, which is so difficult to do in Spain.
II Conference on Research in History of Photography.
Program pdf.
I think that sometimes it is not good to personalize the organizers, institutions and people of events but, at other times, it is necessary, obligated, to do so.
That the Institution Fernando el Católico (CSIC) has been able to carry them out and attract so many and so qualified speakers is a success and represents a huge work of the institution, its people and the person who coordinated and directed all José Antonio Hernández Latas to whom I met in person after meeting him previously through his studies on photography.
As the presentation says:
............ the seminars are aimed not only at the academic and university level (students, researchers, professors, etc.), but also towards all those professionals (archivists, curators of collections, museums, etc. .) linked to the world of photographic heritage and also to the increasingly large audience of fans and lovers of photography ..............
I am included in this last group, the least professional of all and, at the same time, the most eager to learn about photography.
And, from this point of view, that of photography as art, I would like to make a personal reflection:
If we admit, at least I do, photography as an art, its study (photography and the photographer and its environment) should not forget this "artistic component in research"
I say it because I saw, I see, the historians of photography very focused on the data of the place and the character, the date of the person or place (not the photo or photos of the photographer studied), in the family tree of the photographed, in the village photographed. Little is said in the photo itself, the exhibitions in which he participated, his artistic quality in relation to other photographers in his environment, and, most importantly, the character that makes his photos "made in yesterday attract us in the today."
I think, maybe I'm wrong, that if I read a study about a photographer in the end I must be clear one thing at least since one is the question that I ask myself when I start reading about an artist:
Why is this photographer so good that they have done a study about him?
If the answer is data and are not the artistic qualities of the photographer, his technique and his art, I guess I'll have a good time reading the study and soon forget.
Anyway, this post has come out too philosophical, I apologize for it.Go, I repeat, my congratulations for the organization of the event, which is so difficult to do in Spain.