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DOI Artikel:Geržová, Jana: O závislostiach mal'by: fotografia v mal'be 60. a 90. rokov 20 storočia
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31178#0074
řVpčVčWí? fM/Vy o/ V.""
The différence ís that the hrst génération appears
to believe what Vilém Flusser said — it trusts the
photograph more than its own eyes. The second
génération reacts rather to a different, at hrst glance
contradictory Statement of Flusser, námely that the
objectivity of technical pictures is a delusion. This
différence appears to be logical if we réalisé that the
hrst génération experienced the change of vision
affected by the dominance of medial images as a
paradigmatic shift with a certain existential serious-
ness. The second génération already grew up m a
world contaminated by medial images and accepted
DUNNING, W: Pojem já a postmoderní malířství: kon-
strukce postkarteziánského diváka [The Concept of Me
and Postmodern Painting: Conctruction of a Post-Cartesian
Viewer], In: KESNER, L. (ed.): [Wual Théo-
ries], Praha 1997, p. 203.
the contradiction between reality and its appearance,
between the world and its représentation, as a fact.
It identihed itself with the view that we live in a
post-natural world, in which the artist is affected or
even tyrannized by human culture more than by the
natureV Therefore, it is not asking direct question
like "Where is the truth?" anymore. Its existential
anxiety is manifested rather subconsciously, in the
nostalgie atmosphère of the pictures as such. The
author analyses this phenomenon by using Luc Tuy-
mans's paintings, originated as a transcription from
technical pictures and referred to by their author as
'VV/V/V/ras an example.
EygáV? Váwvbřhw ví.
^ For further details, see the interview with the author made
by Juan Vincente Aliaga. — LOOCK, U. — ALIAGA, J. V.
- SPECTOR, N.: Iwv London 2001, p. 8.
68
The différence ís that the hrst génération appears
to believe what Vilém Flusser said — it trusts the
photograph more than its own eyes. The second
génération reacts rather to a different, at hrst glance
contradictory Statement of Flusser, námely that the
objectivity of technical pictures is a delusion. This
différence appears to be logical if we réalisé that the
hrst génération experienced the change of vision
affected by the dominance of medial images as a
paradigmatic shift with a certain existential serious-
ness. The second génération already grew up m a
world contaminated by medial images and accepted
DUNNING, W: Pojem já a postmoderní malířství: kon-
strukce postkarteziánského diváka [The Concept of Me
and Postmodern Painting: Conctruction of a Post-Cartesian
Viewer], In: KESNER, L. (ed.): [Wual Théo-
ries], Praha 1997, p. 203.
the contradiction between reality and its appearance,
between the world and its représentation, as a fact.
It identihed itself with the view that we live in a
post-natural world, in which the artist is affected or
even tyrannized by human culture more than by the
natureV Therefore, it is not asking direct question
like "Where is the truth?" anymore. Its existential
anxiety is manifested rather subconsciously, in the
nostalgie atmosphère of the pictures as such. The
author analyses this phenomenon by using Luc Tuy-
mans's paintings, originated as a transcription from
technical pictures and referred to by their author as
'VV/V/V/ras an example.
EygáV? Váwvbřhw ví.
^ For further details, see the interview with the author made
by Juan Vincente Aliaga. — LOOCK, U. — ALIAGA, J. V.
- SPECTOR, N.: Iwv London 2001, p. 8.
68