{"id":1045,"date":"2011-09-14T18:37:10","date_gmt":"2011-09-14T17:37:10","guid":{"rendered":"https:\/\/www.quaderni.org\/arte\/?p=1045"},"modified":"2023-11-21T16:43:21","modified_gmt":"2023-11-21T15:43:21","slug":"fotografare-in-un-museo-ii","status":"publish","type":"post","link":"https:\/\/www.quaderni.org\/arte\/fotografare-in-un-museo-ii\/","title":{"rendered":"Fotografare in un museo II"},"content":{"rendered":"<p>La photo au mus\u00e9e : on n\u2019y voit rien ! di&nbsp;Neville Rowley, in&nbsp;Culturevisuelle.org<\/p>\n<p><a class=\"thickbox\" href=\"https:\/\/www.quaderni.org\/arte\/wp-content\/gallery\/london-saatchi-gallery\/lon-saatchi_13205.jpg\" title=\"James Howard, Untitled - 2007 - 46 digital prints, Dimensions variable\"><img loading=\"lazy\" decoding=\"async\" class=\"ngg-singlepic ngg-left alignleft\" style=\"margin: 5px; border: 0px initial initial;\" src=\"http:\/\/www.quaderni.org\/wp-content\/gallery\/london-saatchi-gallery\/thumbs\/thumbs_lon-saatchi_13205.jpg\" alt=\"Howard - 2007\" width=\"160\" height=\"120\"\/><\/a>Ce constat, somme toute banal, incite surtout \u00e0 discuter la c\u00e9l\u00e8bre th\u00e8se benjaminienne de la \u00ab perte de l\u2019aura \u00bb des \u0153uvres d\u2019art, du fait de leur reproductibilit\u00e9 technique. Plut\u00f4t que de s\u2019\u00eatre perdue, l\u2019aura semple s\u2019\u00eatre d\u00e9plac\u00e9e. Elle n\u2019est plus tant dans la contemplation de l\u2019\u0153uvre en tant que telle (\u00ab unique apparition d\u2019un lointain, si proche soit-il \u00bb, selon la magnifique formule de Benjamin), que dans la recherche de sa forme id\u00e9ale, cette peinture parfaite et sans reflet que nous promet la photo \u00ab officielle \u00bb, celle de la carte postale, de l\u2019illustration du livre ou de l\u2019image num\u00e9rique sur le site du mus\u00e9e. C\u2019est cette forme-l\u00e0, platonicienne, que le spectateur recherche avant tout ; c\u2019est celle-l\u00e0 qu\u2019il veut prendre en photo \u2013 une t\u00e2che que, dans bien des cas, il ne pourra mener \u00e0 bien tant diff\u00e8rent l\u2019image r\u00e9elle de l\u2019image r\u00eav\u00e9e (ne serait-ce, dans le cas des Courbet, que du point de vue id\u00e9al \u00e0 adopter, bien trop sur\u00e9lev\u00e9 pour une taille humaine).<\/p>\n<p>Il ne s\u2019agit pas de critiquer le regard sur la peinture \u00e0 l\u2019\u00e8re du num\u00e9rique, de dire que \u00ab c\u2019\u00e9tait mieux avant \u00bb. Admettons seulement que, malgr\u00e9 nous, ce que nous aimons le plus souvent, dans les tableaux, c\u2019est leur photographie id\u00e9alis\u00e9e \u2013 et donc fauss\u00e9e.<\/p>\n<p>Vai all&#8217;articolo precedente:&nbsp;<a href=\"http:\/\/culturevisuelle.org\/icones\/1416\" target=\"_blank\" rel=\"noopener\">La photo au mus\u00e9e, ou l\u2019appropriation<\/a>, di Andr\u00e9 Gunthert, in&nbsp;Culture visuelle 18 f\u00e9vrier 2011<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La photo au mus\u00e9e : on n\u2019y voit rien ! di&nbsp;Neville Rowley, in&nbsp;Culturevisuelle.org Ce constat, somme toute banal, incite surtout \u00e0 discuter la c\u00e9l\u00e8bre th\u00e8se benjaminienne de la \u00ab perte de l\u2019aura \u00bb des \u0153uvres d\u2019art, du fait de leur reproductibilit\u00e9 technique. Plut\u00f4t que de s\u2019\u00eatre perdue, l\u2019aura semple s\u2019\u00eatre d\u00e9plac\u00e9e. Elle n\u2019est plus tant &#8230; <a title=\"Fotografare in un museo II\" class=\"read-more\" href=\"https:\/\/www.quaderni.org\/arte\/fotografare-in-un-museo-ii\/\" aria-label=\"Per saperne di pi\u00f9 su Fotografare in un museo II\">Leggi tutto<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[35],"tags":[147,194,193,167],"class_list":["post-1045","post","type-post","status-publish","format-standard","hentry","category-arte","tag-arte-2","tag-digitale","tag-fotografia-2","tag-museo"],"_links":{"self":[{"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/posts\/1045","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/comments?post=1045"}],"version-history":[{"count":6,"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/posts\/1045\/revisions"}],"predecessor-version":[{"id":13788,"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/posts\/1045\/revisions\/13788"}],"wp:attachment":[{"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/media?parent=1045"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/categories?post=1045"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.quaderni.org\/arte\/wp-json\/wp\/v2\/tags?post=1045"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}