The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal
Amid the walls of Luis Barragán’s rooftop terrace, Armando Salas Portugal took a picture of himself looking through the lens of his camera into a crystal sphere that alters all the components of the image. A picture of a photographer taking his own picture, as in this case, reveals the avantgarde at...
Gorde:
| Egile nagusia: | |
|---|---|
| Formatua: | Online |
| Hizkuntza: | spa |
| Argitaratua: |
Facultad de Arquitectura, Universidad Nacional Autónoma de México
2011
|
| Sarrera elektronikoa: | https://www.revistas.unam.mx/index.php/bitacora/article/view/25165 |
| Etiketak: |
Etiketa erantsi
Etiketarik gabe, Izan zaitez lehena erregistro honi etiketa jartzen!
|
| id |
oai:ojs.pkp.sfu.ca:article-25165 |
|---|---|
| record_format |
ojs |
| spelling |
oai:ojs.pkp.sfu.ca:article-251652018-10-17T18:32:56Z The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal El ojo, la lente y la esfera Un autorretrato de Armando Salas Portugal Jácome Moreno, Cristóbal Andrés Arquitectura y fotografía Autorretrato Casa Barragán Las vanguardias y arquitectura Amid the walls of Luis Barragán’s rooftop terrace, Armando Salas Portugal took a picture of himself looking through the lens of his camera into a crystal sphere that alters all the components of the image. A picture of a photographer taking his own picture, as in this case, reveals the avantgarde attitude of the author; for if, according to genres and conventions in Western art, a portrait privileges the face and its gestures, how does this self-portrait reveal the author’s face? When Salas Portugal uses the lens instead of his face, does it mean that this is no longer a self-portrait but a picture of a picture? What does this say about the way Salas Portugal conceives himself? The picture we are talking about relates directly to Barragán’s architecture, not only because it was taken there but because Salas Portugal uses this architecture to create an imaginary space where he himself is the sole protagonist. In this way, the ties between both artists are exchanged. This picture is clear contrary to most architectural pictures, where the representation of space becomes inaccurate due to the fact that they lack any reference to human scale. However, the presence of the sphere and its distortions portray a more abstract conception of this setting, granting it a somewhat fictitious role. Being a photographer that concentrated on a critical approach to Mexican modern architecture and its esthetical and technical achievements, Salas Portugal raises debate with this self-portrait, for he places himself at the focal point of space, and becomes the reflection of a new perception, where technique and progress transform and give light to quite the opposite: a sense of permanence. In this way, Salas Portugal has built an imaginary labyrinth for himself that can be considered imaginary architecture. Pagar por sí mismo,tomarse como objeto,sacar de sí mismo lamateria de su obra -Michel Tournier Facultad de Arquitectura, Universidad Nacional Autónoma de México 2011-05-16 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Investigación application/pdf https://www.revistas.unam.mx/index.php/bitacora/article/view/25165 10.22201/fa.14058901p.2010.20.25165 Bitacora Arquitectura; No. 20 (2010): Bitácora 20; 6-11 Bitácora Arquitectura; Núm. 20 (2010): Bitácora 20; 6-11 2594-0856 1405-8901 10.22201/fa.14058901p.2010.20 spa https://www.revistas.unam.mx/index.php/bitacora/article/view/25165/23660 Derechos de autor 2011 Universidad Nacional Autónoma de México |
| institution |
Universidad Nacional Autónoma de México |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Jácome Moreno, Cristóbal Andrés |
| spellingShingle |
Jácome Moreno, Cristóbal Andrés The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal |
| author_facet |
Jácome Moreno, Cristóbal Andrés |
| author_sort |
Jácome Moreno, Cristóbal Andrés |
| title |
The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal |
| title_short |
The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal |
| title_full |
The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal |
| title_fullStr |
The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal |
| title_full_unstemmed |
The eye, the lens, and the sphere. A self-portrait by Armando Salas Portugal |
| title_sort |
eye, the lens, and the sphere. a self-portrait by armando salas portugal |
| description |
Amid the walls of Luis Barragán’s rooftop terrace, Armando Salas Portugal took a picture of himself looking through the lens of his camera into a crystal sphere that alters all the components of the image. A picture of a photographer taking his own picture, as in this case, reveals the avantgarde attitude of the author; for if, according to genres and conventions in Western art, a portrait privileges the face and its gestures, how does this self-portrait reveal the author’s face? When Salas Portugal uses the lens instead of his face, does it mean that this is no longer a self-portrait but a picture of a picture? What does this say about the way Salas Portugal conceives himself? The picture we are talking about relates directly to Barragán’s architecture, not only because it was taken there but because Salas Portugal uses this architecture to create an imaginary space where he himself is the sole protagonist. In this way, the ties between both artists are exchanged. This picture is clear contrary to most architectural pictures, where the representation of space becomes inaccurate due to the fact that they lack any reference to human scale. However, the presence of the sphere and its distortions portray a more abstract conception of this setting, granting it a somewhat fictitious role. Being a photographer that concentrated on a critical approach to Mexican modern architecture and its esthetical and technical achievements, Salas Portugal raises debate with this self-portrait, for he places himself at the focal point of space, and becomes the reflection of a new perception, where technique and progress transform and give light to quite the opposite: a sense of permanence. In this way, Salas Portugal has built an imaginary labyrinth for himself that can be considered imaginary architecture. |
| publisher |
Facultad de Arquitectura, Universidad Nacional Autónoma de México |
| publishDate |
2011 |
| url |
https://www.revistas.unam.mx/index.php/bitacora/article/view/25165 |
| work_keys_str_mv |
AT jacomemorenocristobalandres theeyethelensandthesphereaselfportraitbyarmandosalasportugal AT jacomemorenocristobalandres elojolalenteylaesferaunautorretratodearmandosalasportugal AT jacomemorenocristobalandres eyethelensandthesphereaselfportraitbyarmandosalasportugal |
| _version_ |
1817362086697631744 |