Photographic Albums Research Papers - Academia.edu (original) (raw)

Васильева Е.В., Стрельникова А.В. БИОГРАФИЧЕСКАЯ ПАМЯТЬ ГОРОДСКИХ СЕМЕЙ: ОПЫТ АНАЛИЗА ФОТОАЛЬБОМОВ // Вестник РГГУ. Серия: Философия. Социология. Искусствоведение. 2012. № 2 (82). С. 288-304.
В статье проанализированы возможности изучения биографической памяти горожан на примере трех семейных поколений. Авторы рассмат-ривают семейные фотоальбомы как перспективный источник социоло-гических данных, который позволяет изучить механизмы ретрансляции событий, значимых для семейной истории. Также в статье описываются методические приемы работы с фотоальбомами и нарративами о фото-альбомах. Авторы анализируют контексты создания тех или иных фото, специфику их хранения, особенности нарративов о фотографиях. Ключевые слова: фотоальбом, городские семьи, биографическая память, методология анализа данных.

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- Biographical Methods, Family Memory, Photographic Albums, фотоальбом

The next of our Visiting Scholar 2018 reports is from José Luís Neves, Lecturer in Photography at Ulster University. In this report José shares with us his highlights from this summer’s visit to St Andrews – one of the photographic albums... more

- by Jose Neves
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- Book History, Text And Image, History of the Artists' Book, Photobook

The presence of photographic reproductions is monitored in this paper in exhibitions of ancient art between the late 19th and the early 20th century, a series of retrospective exhibitions taking place in various Italian towns. The result of pioneering photographic campaigns, photographs of works of art were displayed in art shows either on panels, in showcases, in albums or even inside frames with other paintings. They were then sold, studied and published in monographs, exhibition catalogues and reviews. The growing importance of photography as a critical tool for research is presented through the action and scientific contributions of scholars and curators in the wider scenario of the birth of art history as an academic discipline.

This paper will focus on Woolf as a literary practitioner and on two humble activities of hers, photo-cinematography and printing, which deeply influenced her approach to the ‘craft of words’ and helped her make of her humble publishing craft a hybrid revolutionary art. I will thus see in what ways Woolf was ceaselessly challenging the identity of literary creation as she exploited photography in Orlando, Flush and Three Guineas, mainly focusing on her use of amateur photography in Orlando and the home-made cover for Flush, as well as on the handmade scrapbooks that paved the way to the bold Three Guineas. Also analysing some of the stigmas in her texts (punctuation, typographical gaps, narratorial structure), I wish to underline that Woolf’s literary work can be considered as an elaborate montage reminiscent of both her practice of album composition and contemporary photo-cinematographic theories.

A photograph is the result of the exposure of light-sensitive materials and chemical-oxidising agents to light. This is a degradative process where one has to degrade the materials in order for the image to form and then arrest this process in order to keep this image. Ironically, in order to protect/preserve a photograph, one would have to protect it from the same agents that created it (light, chemical oxidising agents). The inherent instability in photographs is what makes photographs so unique.

- by Lindsay Galea
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- Photography, Conservation, Historic Preservation, Cultural Heritage Conservation
- by Jens Ruchatz
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- Media Studies, Photography, Photography Theory, Media and Memory

Les Albums de la Pléiade sont une collection visant à promouvoir la prestigieuse Bibliothèque de la Pléiade, publiée par Gallimard. Les Albums arborent une apparence identique à leur collection-mère, mais, plutôt que de proposer des textes canoniques, ils contiennent des recueils d’iconographie portant sur les vies d’écrivains, accompagnés de courts récits biographiques. Ils sont offerts aux lecteurs par les libraires à l’achat de trois volumes de la Bibliothèque à l’occasion de la Quinzaine de la Pléiade. Leur rareté et leur impossibilité d’achat en font des objets convoités par les collectionneurs.
Cette analyse vise à observer les configurations génériques des Albums, qui s’articulent entre elles en vertu de la structure médiatique de ces livres qui emprunte la scénographie de l’album photo familial, afin de déterminer quelle image d’auteurs et de la littérature est mise sur pied par cette collection. Alors que les auteurs des Albums prétendent donner à voir des écrivains dans une lumière intime et « jamais vue », l’image d’auteurs résultant de ces représentations les montre réellement en tant que « génies » dont la vie est inséparable de la création littéraire. Ces représentations contribuent à une fétichisation des figures d’écrivains. Enfin, cette étude se penche sur la façon dont ces images d’auteurs sont utilisées comme produits d’appel de la campagne publicitaire qui constitue la fonction première des Albums. Cette thèse cherche à montrer comment, parallèlement à son rôle publicitaire, cette collection opère une fonction patrimonialisante par le biais de pratiques relativement inhabituelles au sein du champ littéraire.

Album exchanges between American and Ottoman powers (c.1880-1910) reveal a networked history of photography across the Atlantic and Mediterranean worlds. Shared themes across diplomatic survey practices suggest that these photographs were... more

- by Emily Voelker and +1
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- Indigenous Studies, Gift Exchange, Ottoman Empire, History of photography

VISUAL AND NARRATIVE HISTORY: THE PHOTOGRAPHIC ALBUM OF A ROMANIAN OFFICER FROM WORLD WAR II
During World War II, the Romanian officer Vasile A. Marinescu took pictures of his life in the army and made an amateur photographic war album with images and notes from the geographical areas where he was mobilized and from the front.The album was recently discovered, as part of a private collection, and a research work on it commenced in 2020. In this article we intend to present and analyse the album and its content as an object - subject, a historical record and to try to answer a few critical questions related to: 1) the purpose of this kind of photographic album made by an amateur military-photographer; 2) the type of narrative built and its relevance; 3) the role of such visual construction both as a useful tool for understanding historical events and for overcoming individual traumas caused by war.
More info:https://www.ceeol.com/search/article-detail?id=986181

- by Ana-Cristina Irian
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- Military History, Cultural History, Visual Studies, Photography

Resumen: Por extraño que pueda parecer, desgraciadamente, ser fotógrafa en el siglo XIX no implicaba necesariamente auto-definirse como tal. Mediante el análisis de las diversas manifestaciones de la relación entre mujer y fotografía, se trazará una primera cartografía de la influencia que tuvieron las mujeres fotógrafas españolas sobre el medio entre 1860 y 1880, tanto en el ámbito profesional como amateur. De este modo, se demostrará que, dentro de los usos expresivos de la fotografía, y mediante la construcción de un lenguaje doméstico, las fotógrafas españolas permitieron un desarrollo expresivo, simbólico y artístico del medio comparable con el de otros países industrializados.
Palabras Claves: Historia de la fotografía en España - Mujeres fotógrafas en el s.XIX español - Álbumes fotográficos - Fotografía Amateur - Fotografía doméstica.
Women photographers in the nineteenth century Spanish: from the professional to the domestic.
Abstract: Unfortunately, it seems that being a women photographer in the 19th century did not necessarily imply a self-definition as such. Through the analysis of the various manifestations of the relationship between women and photography, a first map of the influence that Spanish women photographers had on the medium between 1860 and 1880, both in the professional and amateur field, will be drawn. In this way, it will be demonstrated that, within the growth of expressive uses of photography, and through the construction of a domestic language, Spanish photographers allowed an expressive, symbolic and artistic development of the medium, whose results are comparable with the production of other industrialized countries.
Key words: History of photography in Spain - Women photographers in the Spanish nineteenth century - Photographic albums - Amateur photography - Domestic photography.

This talk was presented at the 52nd annual Convention of the Association for Slavic, East European, &Eurasian Studies in the framework of the panel "Socialism and the Human Face: The Present of the Past through the Prism of Private... more

- by Friedrich Tietjen
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- Photography, History of Private Life, GDR History, Visual History

Ende Oktober 2010 stieß ich in der Sammlung Frauennachlässe am Institut für Geschichte der Universität Wien erstmals auf den Namen Friederike „Fritzi“ Löwy. Ich blätterte durch drei Fotoalben, die Mitte der 1990er Jahre auf einem Wiener Antikflohmarkt gefunden und 2008 an die Sammlung Frauennachlässe übergeben worden waren. Fritzi Löwy wurde als die ursprüngliche Eigentümerin und Gestalterin der Alben ausgewiesen. Sie zählte in den 1920er und 1930er Jahren zu einer der erfolgreichsten Schwimmerinnen über die österreichischen Grenzen hinweg.
Ende Oktober 2010 stieß ich in der Sammlung Frauennachlässe am Institut für Geschichte der Universität Wien erstmals auf den Namen Friederike „Fritzi“ Löwy. Ich blätterte durch drei Fotoalben, die Mitte der 1990er Jahre auf einem Wiener Antikflohmarkt gefunden und 2008 an die Sammlung Frauennachlässe übergeben worden waren. Fritzi Löwy wurde als die ursprüngliche Eigentümerin und Gestalterin der Alben ausgewiesen. Sie zählte in den 1920er und 1930er Jahren zu einer der erfolgreichsten Schwimmerinnen über die österreichischen Grenzen hinweg.

- by Vida Bakondy
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- History and Memory, Holocaust Studies, Photographic Albums
- by Efrat Fridenzon and +2
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- Israel/Palestine, Travel & Tourism, National Identity, Photographic Albums

This essay offers a reading of the earliest Japanese photographic albums (shashincho) devoted to their newly acquired colony, the island of Taiwan, 1895. I argue that these cutting edge photographic publications provided a way by which... more

- by Joseph R Allen
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- Photography, Colonial Cultural Policy, Photographic Albums
- by Paweł Michna
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- Photography, Modernity, Holocaust Studies, Biopolitics

English translation for Joanna Daranowska-Łukaszewska's text for the photographic album Małopolska architektura drewniana. Lesser Polish Architecture in Wood. Olszanica: Bosz, 2005. Polish-English bilingual version (Introduction and... more

- by Teresa Bałuk-Ulewiczowa
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- Cultural History, Cultural Studies, Human Geography, Cultural Geography

Abstract (Photoalbum, Diary and Novel – Researching the Life of Kónya Gyuláné Schéfer Teréz)
Kónya Gyuláné Schéfer Teréz was born and raised in Cluj-Napoca. After fi nishing her studies, she became the fi rst female teacher in the
Protestant College in the school year of 1907/1908. She then quit her job and married a protestant pastor, Kónya Gyula. In the engagement
period Teréz kept a diary, which has been a great source of information for understanding how a young, educated woman in Transylvania
thought about marriage and the place of a woman in the beginning of the 20th century. In the interwar period they lived in Magyarvalkó
(Valcău), a little village in the Kalotaszeg region. She became involved in the life of the village and started to organize the home craft, providing
work to the rural women, who could sew the traditional textiles. This article analyses her photo album, in the light of her diary and other
written sources, like the autobiography of János Kemény and the novel of Márton Gerlóczy. The photos show us a woman who is aware of her
status as the wife of a pastor, but seeks to fi nd ways to expand beyond this. We fi nd images taken at textile exhibitions, which are more closely
linked to her independent identity, as the woman who reorganized the sewing in Kalotaszeg after the fi rst world war.
Keywords family album; photography; memoir; Kalota county

- by Dorottya Újvári
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- Photography, History of Transylvania, Family Photography, Photographic Albums

Abstract: Departing from na extension activity named Photobiographies: the Fortaleza that can be found in personal photographic archives, we aim to reflect about photographs can reveal not only individual biographies but also the biography of a city. The activity takes place in Poço da Draga. We approach this territory through photographs that people keep in their homes and the narratives they tell about them. The photographs evoke narratives, activate memories, interconnect relationships. Can we consider these narrative landscapes as heritage of Fortaleza? How can we think about them as “spaces of remebrance” that allow us to reconsider social, historical and anthropological readings of the city? We take as a starting point the narratives told by Dona Zenir, one of the oldest residents of Poço da Draga. Her narratives and images take us to people, their lives, bring us closer to the lived experiences shared with other women, entwining – through memory – Poço da Draga to the history of Fortaleza.
Key words: Biographies. Photographic albums. Urban resistance. Heritage.

- by Cristina Maria Da Silva
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- Cultural Heritage, Resistance (Social), Biographies, Personal Narratives

The relationship with the past is complex and almost always conflictive. Events obtain their meaning only a posteriori, relying on a process of signification in which gaps are opened and silences are installed, all at the same time. It is through the archive, a repository of traces and fragments, that the contours and scope of the understanding of the past are traced. As such, the image of the past is constructed through the fabrication of narratives that influence not only perception of historical events but also the sense of identity and memory, both individual and collective. Theoretical contributions of authors such as Walter Benjamin, Ernst van Alphen, Georges Didi-Huberman and Gerhard Richter will be explored in this essay, regarding the reanimation of images from the past as critical acts that question knowledge production. This framework will be specifically addressed to explore the memory of the Portuguese dictatorship (1926–1974) through artistic practice, in this case, through the appropriation of photo albums from that historical period, from different sources such as the personal, the anonymous or from national archives. The work of Portuguese contemporary artists Manuel Botelho (1950), Daniel Barroca (1976), Susana de Sousa Dias (1962) and Filipa César (1975) will be examined, in order to explore the limits of representation of historical memory and experience, the dynamics between the individual and the collective, reality and fiction, the ambivalence of visual documents regarding the construction of meaning, and the use of remembrance as a productive and critical process.

- by Ana Catarina Pinho
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- Photography, Archives, Memory, Counter Narratives

Proposing an ontological division based on the terms photobook and photobookwork, the main goal of this thesis is to examine and ascertain the historical, material and conceptual characteristics of the latter book practices. Conducted from a critical perspective, the analysis that structures this project aims in the first place to demonstrate how a series of interconnected material, cultural and aesthetic developments enabled the emergence and maturation of photobook practice between the late 1830s and the early 1890s. The project also explores how the materialization of photographically illustrated cultural magazines in the late nineteenth-century catalysed a transformation of visual discourse and literacy that later enabled the full development of photobookwork practice. Importantly, this thesis suggests that photographically illustrated book making fully branched into two distinct forms in the mid 1920s. Whereas until that period photographic illustration in book form was predominantly rooted in the single photographic image, modernist photobook makers, greatly influenced by the visual discourse of photographically illustrated periodicals, developed a photographically illustrated book practice centred on cumulative and relational photographic narratives that traversed the entirety of the book. Ultimately, this project attempts to recalibrate the somewhat monolithic and nebulous perception of photobook history proposed in recent general ‘photobook’ scholarship, while simultaneously contributing towards a better understanding of the historical, material and ontological characteristics that define the two forms of photographic illustration in book form discussed throughout this thesis.

- by Jose Neves
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- Visual Narrative, Artists' Books, Text And Image, Photobook

My thesis considers the idea of the Index as it manifests itself in the Snapshot, the Family Album, and the Archive. I will be acknowledging the difference between the Snapshot and the Constructed Image, but will be discussing how they function similarly in regards to memory construction, and ultimately how we construct ourselves.
The essential mark of a photograph can be buried, hidden below layers of recollection, stories, and interpretations, and in all probability, not even within the image itself. Until now, photographs were objects – made out of physical materials; they were as physical and fragile as our very bodies, and subject to the same redefinitions caused by time and care. When memory is pressed into the image object, we meet an immensely complex and convoluted discourse.
Are Snapshots mere memories, commonplace frivolous objects, the truth or fraudulent material? Could the Snapshot encompass all of these attributes and roles? It is a debate and discussion that continues persistently the further you descend into its territory. The Snapshot is a constantly shifting reality in a past state, a witness to a notion that no longer exists, and perhaps never genuinely did. It is a copy that will produce further copies; an equivalent of continuous expanding layers, masking the ‘original’ that ceased to physically endure the moment the shutter was pressed. The photograph becomes more than an artifact in this setting, as it becomes a dialogue within itself as well as outside itself.
These objects have the potential to represent a history while also being connected to a reinterpreted and renewed significance. This is the space that we meet the archivist, the researcher, the curator, and the artist. The Archive, much like the photographic object, is an intricate convention – with its function consistently being reborn and reworked, it can represent multiple meanings and entertain multiple positions all at once.
A tension forms between the emotional and the intellectual, the sentimental and current popular theory; leaving the artist and researcher to, inevitably choose a side, or conversely, to create a new paradigm altogether.

- by Traci Marie Lee
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- Photography, History and Memory, Photography Theory, Memory Studies

Κασσαβέτη, Ο.-Ε. (2021). Το αναλογικό οικογενειακό λεύκωμα ως ιστορικό και πολιτισμικό τεκμήριο. Η κουλτούρα της Kodak αντεπιτίθεται. Στo Γ. Σταθάτος & Π. Πετσίνη (επ.), Ελληνικές φωτογραφικές μελέτες Ι: Φωτογραφία και συλλογικές... more

- by Orsalia-Eleni Kassaveti
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- Visual Culture, Greek culture, Modern Greek culture, Greek Photography

Od początku istnienia fotografii podejmowano próby wynalezienia techniki pozwalającej na powielanie jej za pomocą druku. Jedną z opracowanych w drugiej połowie XIX wieku metod był światłodruk, w którym obraz fotograficzny drukowano z matrycy pokrytej żelatyną i dwuchromianem. Na ziemiach polskich szczególne zainteresowanie technikami fotomechanicznymi wykazywał Karol Beyer, który eksperymentował z nimi od lat 50., a w 1870 roku wraz z Melecjuszem Dutkiewiczem otworzył pierwszą na ziemiach polskich światłodrukarnię. Jedną z ich najwcześniejszych realizacji był pierwszy (i jedyny) zeszyt albumu Pomniki Krakowa. Sztuka i starożytność = Monumenta antiquae artis Cracoviensia, opublikowany przez Towarzystwo Naukowe Krakowskie w 1872 roku.
Pomysł na wydanie albumu wywodzi się z czasów konserwacji Ołtarza Mariackiego, którą prowadzono od 1866 roku. Niezrealizowany wówczas zamiar wykonania dokumentacji fotograficznej Ołtarza został podjęty przez Oddział Archeologii i Sztuk Pięknych Towarzystwa Naukowego Krakowskiego, który planowaną publikację poszerzył również o inne krakowskie zabytki. Fotograf Walery Rzewuski, który miał wykonać ten album, prawdopodobnie z powodu problemów technicznych nie wywiązał się z zawartej umowy, stąd nowego wykonawcę postanowiono wyłonić w drodze konkursu. Wygrał go jedyny oferent – zakład Beyera i Dutkiewicza. Fotografowie przybyli do Krakowa w sierpniu 1871 roku, wykonując zdjęcia na potrzeby kilku zeszytów Pomników. Pierwszy zeszyt, zawierający pięć tablic w technice światłodruku, został opublikowany na początku 1872 roku. W zeszycie tym znalazły się widoki: Ołtarza Mariackiego, płyty nagrobnej Piotra Salomona z kościoła Mariackiego i srebrnego ołtarza z kaplicy Zygmuntowskiej w katedrze na Wawelu. Po przekształceniu Towarzystwa Naukowego Krakowskiego w Akademię Umiejętności w 1872 roku chęć kontynuowania publikacji podtrzymała nowo powołana Komisja Historii Sztuki, jednak najprawdopodobniej z przyczyn finansowych i organizacyjnych zamiaru tego nie udało się zrealizować.
Źródła nie pozwalają wprost poznać intencji, która przyświecała członkom Oddziału przy podejmowaniu decyzji o wydaniu albumu, ale pośrednio wyjaśnia to charakter działalności tego grona. Oddział zajmował się zabytkami w szerokim rozumieniu, m.in. prowadząc badania i prace konserwatorskie, do czego w różny sposób wykorzystywał reprodukcje dzieł sztuki. Podejmował również działania mające na celu ich publikowanie (czego przykładem są Pomniki), co wpisywało się w narastające w tym czasie zapotrzebowanie na ikonografię polskich zabytków. Spośród różnych inicjatyw tego typu szczególnie istotna była publikacja Aleksandra Przezdzieckiego i Edwarda Rastawieckiego pt. Wzory sztuki średniowiecznej i z epoki Odrodzenia po koniec wieku XVII w dawnej Polsce (wyd. 1853-1869). Wydaje się, że podobnie jak Wzory, tak i Pomniki były skierowane przede wszystkim do osób badających lub przynajmniej zainteresowanych sztuką. Członkowie Oddziału w albumie zaplanowali zamieścić przede wszystkim obiekty mniej znane i niepublikowane, koncentrując się na malarstwie i rzeźbie z okresu średniowiecza i nowożytności. Od innych wydawnictw tego czasu Pomniki odróżniała technika wykonania, oparta na fotografii, a więc bardziej wierna od reprodukcji rysunkowych czy graficznych, co w oczach ówczesnych recenzentów stanowiło istotną zaletę. Choć wydawnictwo to nie zostało ukończone, dzięki zleceniu Towarzystwa Naukowego Krakowskiego Beyer i Dutkiewicz przeprowadzili zapewne pierwszą na ziemiach polskich akcję fotografowania zabytków na potrzeby instytucji naukowej.

- by Anna Bednarek
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- History of photography, Photomechanical Printing, Photographic Albums

Artikel in: Rundbrief Fotografie, Vol. 24. (2017), No. 4, S. 8-18.

- by Michalis Valaouris
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- Gender Studies, History of Mathematics, History of Science, Visual Semiotics

A set of albums by Amherst College and Harvard Law School student William Belcher Whitney provides richly adorned accounts of a bustling social life involving courting many women at once, bonding with classmates, participating in “masculine” activities such as sports, and upholding his family’s social expectations as a “Whitney.” He would have been a fine prospect for marriage for many women at nearby all-female colleges, which encouraged their students to become dutiful wives and mothers who supported their husbands and tended the family’s social profile. Only at a closer look does this cisgender narrative falter and reveal messages apparent to members of the LGBTQI+ community, while simultaneously upholding the appearance of active engagement in cisgender courting norms. This paper rebuilds Whitney’s narrative in view of the album’s subcultural meanings, and it examines Whitney’s struggle to conform to cisgender norms. Collage, it will be argued, allows metaphors to enjoy more tangible form, while speaking in the language of a genre (the photo album) that had an established cisgender normativity. This is to say, collage enabled Whitney to use the visual language of a heteronormative cultural artifact (the album) to subvert its usual expectations while being in the closet in plain sight.

Haben Sie in letzter Zeit ein Fotoalbum angelegt? Dann gehören Sie zu den wenigen, die diese Praxis heute noch pflegen. In den 1920er und 1930er Jahren war sie gesellschaftlich weit verbreitet, und auch Künstler_innen bedienten sich dieses Mediums, um ihren Erinnerungen einen Ort zu geben. Dieser Beitrag unternimmt den Versuch, dem Gestaltungsprozess eines Fotoalbums der Fotografin Gerda Leo (1909–1993) anhand materieller Spuren näherzukommen. Er gibt Einblick in die Herausforderungen im Bereich der Gegenstandssicherung und -analyse, auf die ich im Rahmen meines Dissertationsprojekts stoße. Das Projekt untersucht Fotoalben von Künstler_innen aus den 1920er und 1930er Jahren mit dem Anspruch, das Fotoalbum nicht nur als Aufbewahrungsort für fotografische Bilder zu betrachten, sondern als Medium, in dem Layout ausprobiert werden konnte. Der Umgang mit fotografischen Bildern in den drei wichtigen Bildmedien der Zeit – Fotobuch, Fotoalbum, Illustrierte – soll mit einem Schwerpunkt auf das Fotoalbum analysiert werden. Die vorliegende Spurensuche am Fotoalbum wird von der Frage geleitet, ob das Erschließen einer weiteren Informationsebene zu einem tieferen Verständnis des Gestaltungsprozesses und damit der Anordnungen der Fotografien führen kann. Auffällig an Gerda Leos Album ist, dass Spuren des gestalterischen Entstehungsprozesses so gut wie nicht vorhanden sind. Welche Aussagen lassen sich dennoch über ihre gestalterischen Entscheidungen treffen?

- by Judith Riemer
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- Spur, Fotografie, Avantgarde, Photographic Albums

Chromatic reintegration in photographs is an aesthetical treatment directly in original object that aim to fill and recover chromatically missing areas to return the correct reading in images. It could be a delicate and controversial treatment that must always be performed by an experienced conservator-restorer who takes into account all the factors, intrinsic and extrinsic, that can influence when making decisions about interventions in original artifacts. In this case study, different methodologies were applied in two photo albums belongs to Calouste Gulbenkian (1869-1955), an important oil businessman and private art collector who was founder of Calouste Gulbenkian Museum in Lisbon (Portugal). These two objects containing numerous medium-large format photographs in pre-sensitized albumen paper. They have a great value for Gulbenkian´s history and technical quality as vintage albums, with images of Europe and the Middle East belonging to emblematic photographic studies. For this reason, photo-albums needed a complete study and conservation treatment for its recovery and valorization, including the aesthetical context. Some methods were tested and compared with the aim of interfere as little as possible in photographic stability.

- by Alba Guerrero
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- Photography, Conservation and Restoration, Photographic Albums, Photo Albums

This performance is born of my collection of family photos bought second-hand, in which people are seen pointing with their finger at something. The gesture of pointing resounds with innumerable iconographic echoes, a fact which compelled me to explore such gesture in a performance that would create dialogue with the photographic medium. In this way Indexical investigates the index finger and the inherent indexicality of Photography and of Performance, taking as its point of departure one of the supposedly most naive manifestations of photography: snapshots destined for the photo album.

- by Andrés Galeano
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- Photography, Performance Studies, Contemporary Art, Performance Art
- by Andrea Kunard
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- Women's Studies, Photography, History and Memory, Photography Theory
- by Andrea Kunard
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- Photography, History and Memory, Photography Theory, Text And Image
- by Paweł Michna
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- Art, Photography, Modernity, Holocaust Studies
- by Cecilia Rodríguez Lehmann
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- History, History of photography, Fotografia, Benjamin Vicuña Mackenna