face. Such a direction of evolution illustrates a shift ffom three to two dimensions (in this
context the author analyzes a sculpture and a drawing - both works represent Alberto Gi-
acomettfs brother, Diego).
For Giacometti, then, the problem of representation is related to the medium (sculp-
ture, painting, drawing), the relationship between the whole and a part (including size),
and distance. It is the ąuestion of distance which determines a view en face only (just like
in normal life we can see only our interlocutor’s face), implying no immediate knowledge of
the invisible (the back of the head). The same ąuestion triggers the fragmentation of the
body, caused by the impossiblity to see the whole figurę (or even the whole face) at once.
This explains Giacomettfs choice to deal only with “pieces” of figures and his specific close-
ups and zooming, characteristic of the camera. Still, distance is also the absence of the rep-
resented. Writing about the methods of representation favored by Giacometti, the author
addresses a morę generał problem of portraying as an effort to keep one’s presence which
is never real for the spectator, even though the artisfs task is to make the two presences
as close as possible.